Figure drawing for Cartoon Characters

1. Introduction: Do you want to draw great cartoon characters and to be able to draw them in motion. Hi, my name is Maria Abramovic and I'm an illustrator and I made, and I'm here to teach you figure drawing for cartoon characters. Characters can be a challenging things to draw. And yet even more so when you have to put them in motion. That's why I designed this course for you. In this course, I'm going to guide you step-by-step and teach you how to draw any cartoon character. Moshe, we're going to start with a very simple structure using just a stick figure. And we're going to draw a character in motion from the ground up. You're going to learn about proportions of cartoon characters in comparison to humans. And you're going to learn about body mechanics when they perform different tasks. We're going to draw characters in sitting position, characters daring, heavyweight. And also we are going to study the body mechanics of push and pull. We're going to also draw body language, how to bother, which conveys emotions. And also we are going to talk about how h changes our body and our posture, and how you can draw characters of different ages. Last but not least, we're going to draw unconventional characters with crazy proportions and apply the same body mechanics that we did with characters that have more human proportions. So I hope this encourages you to join me in this journey and opened the door to your creativity. If you liked the course. Don't forget to review and comment. Thank you. I hope I'll see you inside the course. 2. Warm up: Hello there. Let's start our lesson by warming up. And you would say, why would I warm up? While the thing is that usually you have the image in your head of what do you want to draw, but your hand is not following. That's why I want you to loosen up your hand. So you become fearless saw you trust the image in your head when you start drawing the real thing. And I'm using two pencils, again, those were followed me know that I use blue pencil to draw the sketchy stuff, the structure of the character before I draw and define the character with a black pencil. And here I'm using, this one is fable Faber Castile pencil. It's an oil pencil. And Usually I just go and try out pencils the store and feel like how does it feel like? I don't want this tensor to do very, very thick lines. I want to have it a lighter lines. And I want this one to be thicker. So I'm using just a normal pencil. This is three b, which is pretty soft. It is not to solve like ATP, but it just leaves a much stronger line than this one. So just try out different pencils. And if you have any kind of children set of pencils at home, that also doesn't work. So what I'm going to ask you to do now is loosen your hand like that and very loose. Just don't go around and just like dark, really, really strict and you want to do the right thing. This is your kitchen. Your have to do the things in the wrong way or not in the wrong way and by trying it out. So I want you to just listen your hand from the shoulder down and just draw some lines like that. Just aimlessly. Draw curves. We're going to draw a lot of curves. So I want to be loose with those curves. I don't want you to do a curve like that and try to. I mean, because I've trained so much, I can't even do the right curvy nails. I'm just so used to do this. Very loose curves. So that's what I want you to also follow me, do here. Loose curves. You can even use the black pencil, it doesn't matter. Just loosen up the curves that you do. I want to also randomly draw spheres and with the blue pencil, because the blue pencil gives you more thicker lines and the curve becomes, appears visible more quickly. So if you just draw spheres like that, we're going to draw a lot of spheres. This lecture, if you're starting my lessons now, this can seem completely nonsense. Just keep at it and do a lot of doubt. And in the next lecture, he will. This all makes sense and you will see why you're doing it. You're not wasting time or money. So just go ahead and do as many of those small exercises as possible. And when you feel that you can draw more like dot with our hand tilted like that. And fast spheres. The new done. And let's go ahead and start drawing characters and pose characters. I'm going to do that in the next lecture. See you there. 3. Structure of a Boy character: Well, welcome back, and let's start drawing the real stuff. So why is this figure drawing for cartoon characters? And because cartoon characters are easy to draw, and also they have an anatomy that is very similar to human drawing. Although the proportions are a little bit different than the real human, it is, they have almost the same rules, the same principles of the anatomy. And it's much easier and forgiving to start drawing figures which are cartoon characters than a real figures, human figures, because you can be slightly off proportions with human beings and it is noticeable and this can seem very discouraging to you to continue drawing. Practice makes perfect is valid here too. But this lecture is for you to encourage you to start drawing figures and also help you in the process of drawing your cartoon characters, whatever you wanna do a book or an illustration, or just practice drawing. So that's why I'm going to start here by drawing a character for a figure of a little boy. And I'm always doubting with the head. This is a little bit an exercise that is going forward and back, drawing 11 part of the body continuing with the other. And a cartoony character of a little boy. They also usually have large heads. Because cartoon character, they look like kids. And kids have larger heads in comparison to their bodies. That's why they look cute. But that doesn't apply only to humans. It applies also to animals. That's why cartoon characters. Animals, they look often like kids. So I'm going to start by drawing a large head and I want to follow me here or in this exercise. Here we have use of the lines and the spheres we did in the warm-up lecture. So you see, I am drawing this fear over and over again. The lines are very loose, very light, but there is a thickness shaping for the head for a sphere that will later lead us to finalize it with a black pencil. So this is our head. Now, let's design the body. And I want the body to be rather small in comparison to the head for this little boy. So I'm going to draw another sphere right there, the body. And here it is. Time to just draw a line. I'm going to draw a boy, a body that is straight forward towards us. So I'm going to draw a line that goes straight down and this is the middle or character. So everything on both sides will be symmetrical. That will help us a little bit guide us into where everything is going to be. So I'm going to draw the body, which is slightly smaller. Here. I'm going to start aiming to where the legs are. And I want the legs to be not as long, slightly smaller. So I'm going to say with just lines. And you see here comes a curvy lines, the life that we did, that we did very softly. And here are going to be the feet. Now, these proportions, how did I come up with these proportions? I want the ball to look like, kind of like a human boy. And talking about proportions here, I'm going to tell you a little bit about measurements. Don't get too confused because these things in cartoony characters changes. But for the perfect proportions for some boy like a hero boy or something, we want him to look as well proportionate as possible. Not to have two legs that are too big, or we just want him to look cute basically. So one thing is that to have a proportional body. Or upper leg. If you bend it, it will go around to where the shoulder is also this part and this part are kind of similar approximately. This is not an exact thing. And the upper part of the leg usually is the same size as the lower part of the leg. So these proportions here, even though they're very minimized as a human proportions, they are equivalent to the proportions of a body of a human being. Another thing now that we can take into consideration, let's line up the nice here. So now we have discovered the knees. And for a small sphere where the needs are and here are the feet. And now we have two proportions. And let's go ahead and place two lines where the shoulders are. The shoulders are approximately here because we measured this length to this length. And now let's measure where are the hips? And here we have to imagine a little bit because the body continuous right here, right? But, or legs. If you think about anatomy or legs continue and join the hips where or buttocks is on the other part. And the buttocks is not just straight to the hips. There is a flesh and muscles underneath. If we go into too complex explanation. But we draw these two lines and they are going to be the hip line. And here is also symmetrical. This point is symmetrical to this one according to this line. That's why we found this symmetry. So here we have some things figured out and we have the spine here. Now, how do we find where the arms are? And another thing of human anatomy is the elbow usually is on the line. If you draw a line from where the waste is, now, our boys will not have a proper waste because we're going to round this up like around body. But we assume that the waste of the boy is here, like waste is approximately where your belly button is. So if we say like the belly button is over here a little bit lower than the waste, then the waste comes approximately here. So that way we can mark that the elbows of oral boy are going to be here. Just draw small dots or bolts. Okay. So now we can draw upper arm from the shoulder is coming from the shoulders or arms are connected to the shoulders. They are not coming from the head. Like we as a beginners usually draw the arms coming from the head. They do not. So let's measure this proportion now, how do we find the lower part of the arm is the same thing like the legs. The upper part of an arm is equal to the lower part of the arm. So if you measure your upper part here, and it's going to be an E. If you take that measurement over here, this is going to be the lower part of the voice are. And again, draw a line through this point where you, which you already found to find the other part of the arm here. And you add a poem here. Usually a human pound is equal to the human face. But you'll see that that's going to be really weird if we draw a huge hand here. So another measurement to figure out is that when a person is standing, the palm adds approximately in the middle of the leg. Like done. So I'm going to draw another line here for the arm and connect it to the other side. So now we have the measurements of our boy, starting with having a huge had, having a smaller body and applying the principles of anatomy of a real human to a cartoon character to balance out the proportions. So now let's go ahead and actually design this point, this design. And now it's really easy because we have these proportions here. And let's start with also designing the face. So we have the middle line here of the boy. And why I do this middle line here and not in the middle of the face. Because kids have larger heads and their face in comparison, look smaller. And more the kids grow, the more this part of the head, it goes up and the face takes the whole place and the **** becomes a little bit more proportional. That's how you actually can design kids from different ages. So this boy, I assume, is approximately seven years old, 67 years old. So that's why I brought this line of the nose a little bit higher up. I want him to look a little older. If I wanted him to look like a baby, well, maybe I would have drawn this line even lower down and draw his nose over here approximately and have all this part being cheeks and eyes being over here and have this large head like a baby. But I've aged female little bit just by bringing the nose, the part of the face a little bit higher up and still keep him pretty young as 767 years old boy. So now let's find the mouth and the mouth here as depending on how I want, how proportionate I want this boy to be. I can now see the cheeks over here. I can mark them with an ellipse shape on each part if you want to. This is your kitchens, so you're allowed to draw and mess up your drawing and Move bars up and down. And that's why I'm telling you it's very important to draw with a whole hand like that. So you don't have very, very thick lines that later on it's going to be difficult to move up and down because your perception, your eyes will draw you to where the thick line is. Just delay the thickness of the arm until you see you know, that the character you're designing something of your liking. So I'm going to draw his mouth or rather here, so closer to the nose. Here is really about proportions. Usually the mouth of a real person is very close to the null. So approximately here, this boy have a small chin. So usually the proportions from the nose to the mouth to the chin is equal in real person. But because this is cartoon character, we can push it up, push them off up, design a larger chin, and have the boy have this small little face that will keep him young as age. Because if we designed proper proportions, It's going to be looking like a more grown up boy. So squeeze the face in to keep the age of your character younger. Now let's draw the eyes and the eyebrows are approximately here, because we want the face to be around this area, very close together. So I'm going to draw the two eyes, large, large eyes, because kids have large eyes. And if we draw characters with large eyes much larger than they actually are, exaggerate them. They make it that makes them look cartoony because they look cute. And now let's draw the pupils. And usually when we draw cartoony characters, the pupils are slightly cross-eyed, but they are actually looking straight forward when we draw the 3D characters. Because babies have these features that have crossed ICT. Features, they look like their pupils are closer in phase. And that's why when we draw it up for our character, the character looks young and cute. And let's round up the mouth here, a very tiny mouth. And now draw another sphere. Just on the middle line, the middle of this line, and on top of the lips to actually find the structure of the lips. And now let's have our eyebrows. Now we drew the eyes larger. So we said these are going to be the eyebrows, and this is also another design in the face. You have a little bit more freedom to design it. So I'm going to push the eyebrows a little higher up. And you can follow me with that. And you can change the position of your eyebrows. You can. Draw exactly the same character and move the features around up and down. Move this line as long as you have this structure. It's going to be easy for you to play with this character and see what kind of a character design you get. And now I'm going to just draw the hair and one chunk of our hair is falling down his face. Another chunk of hair is shaping this face. And I'm going to even exceeded the line of the head. You know, that our hair is not staying on or exactly on the scalp. It has some volume. So I'm going to exceed that volume here and have this hair line over here. And also on the other side. Notice again the lines that I draw. And now the ears here, the ears are also aligned with the nose. The lower part of the year in the human figure is aligned with the nose. So having the ears kinda anatomically correct to a real person, even though they're much further out, is also giving right proportion for our character. So basically cartoony character as just tricking some proportions, keeping some proportions as they are in the human body to keep it balanced and to keep it looking good. So let's define or a character with a head like that. I'll let small neck. And now, how do we have the arms here? We're going to continue this shoulders and we are going to make sausage. So just draw shape on top of the line and other shape on top of this line. Here, like an ellipse and a sphere on the arms, this is the easiest way to dress up the flesh of your character. And here as well, on the legs just connecting this part of the joints where the other part, and this is also is going to be refined later on. This is still a placeholder for your character. And here you can have the feet being proportional. Have another fear for the feet. The feet usually is almost like half of this space, half of the the foreleg. But I've extended them a little bit here because again, like puppies and kittens, they have big pulse. And if you give a guy or a character, big feet, or they will look more childish. And that's what we want. We want to accomplish this kind of look. So here we have the first structure of our character. Let's go ahead and define our character in the next lecture. 4. Refining the Boy character: Hi there, welcome back. Now we have all the elements for our character. And let's define that a little bit now with the real, with the proportions. So we know where everything is. We are going to use this fear that I drew here to form the cheek of the boy. And we are going to form the ears. Just have another thickness to the blue pencil than the one you have. So you know how your character looks like, exactly, knows. I'm just going to add two dots here or a lines to define just the child is nose. I'm going to define the eyes properly. And you see how when you design with light pencil, you can have this freedom later to design a character. And now I can dress up my little boy. I can have them, have some t-shirt here on the neck. And now, because I have this shapes, I don't need them to look like sausages. On top of that, I will refined the boy's arm and this part will connect with this part here of the sausage that I designed before. And I'm going to just connect these two parts to design the elbow with that part. And here, I can just trust my judgment to see how this boy looks like better. And just have the curvy line. Go all the way down and smooth out the sausages. There are just help lines and now I know what a waste of my voice. So I'm going to give him some trousers that are ending up on this waste. From now on, everything is very simple because you know where everything is. And I'm going to have some leaves from the t-shirt I here. And maybe another design on the T-shirt and design the pants. And they are going to end up here, even though you see how the leg goes up here. But we have the right proportions of everything. And now I'm designing even pants on top of that. And everything looks right and good because we have done this exercise. So just connect this part of the leg and smooth it out following the guidance of the sausages. And just to have even it out and symmetrical to the other leg. Just like that. And now let's have him, his shoes and just complete the upper part of the sphere. Add some flat surface here for the shoes. Maybe add another line to form the structure of the shoes. Then maybe sneakers or whatever design you want to have. I'm just going to design this simple shoes. Just to have it easy for you to see how this spherical shape design, design the boy. And now we have this arm here that is pretty much we see what the armies, and it is bent. Wet. Fingers a little bit, bend down. And the thumb here, and the fingers a little bit bent down. We can even lift this arm here because to give him more appealing look, we can change the proportions now because they are so close to the real, well-designed proportions of the human body. And now we have this completely new cartoon character that is very well balanced. And it actually reminds us of the proportions of a human being. And now we can also go over it with the black pencil to enhance its features even more. And add details at patterns or whatever we want. Here we don't have to draw the whole year. We can just draw a little bit of a curvature like that. Cartoony characters are also very simplified characters. So you can allow yourself to just generalize whatever object it is, whatever it is in the ear or hair like that. We don't need to draw all the hair. We can just draw a chunk of hair as the summary of all the hair. Now. Here it is. We'll define the eye. We have the I very much clear with the blue lines, so we don't need to figure this stuff out with a pencil, with a black pencil. And as you see, I'm not using an eraser. This is my method of not using an eraser, is to actually help you trust, trust yourself when you draw. And by drawing first with blue pencil, being free to actually make mistakes, you start trusting yourself and you trust you start becoming even better artists. And as you see, I left some space white because it gives like some kind of light bouncing on the ire of the God or little guy. And it makes him look more real. It just gives life to it. Now will form the mouth. We have this little shape here of the mouth that will continue. Small mouth. Here. We just connect the small bowl that we drew here sphere with the corners of the mouth. And we have mao here. So I'm going to give him another chunk of hair because we are kind of like ready with a design. And we'll go on to extend this chunk of hair here. So he'll have more life to it. And I'm going to continue the hair. And now just let's have maybe some belt on him here. Small belt. I'm going to color it shaded black to make it clear what this design of his tensor and has something that holds the belt on the trousers. Here, you are free to actually explore the design of your character. And you can see that I might have shortened the neck a little bit that will make him, his face look even more childish. And there are so many ways to design your character and we're going to take that exercise and explorer other characters later on. But I wanted to start with a boy because I just wanted to see in a simple way how human features in real life and figure the real human beings applies to the features of a character that is a cartoony character. And how you can actually balance out your character. So it looks more balanced, more real. And now I've added some kind of trousers that are falling on top of the shoe stay a little longer. Trousers. This is just an extra thing you can do. You can do maybe something here or he's having some kind of trousers, so he's kind of suit them up here with something, or very playful a little boy. And let's have his arm here. And because his arm is a little band, I will lift his thumb and his hand a little app. But if he's straight up, then it should go up to here. They are not anatomically correct way of a real human boy. And I'm going to design his fingers very symbolically. Valley, very yeah. Just that thumb. And there you have it. You can give him maybe some freckles to have him look even cuter. And from now on, you can even around his cheeks. And we see that we have this very, very VCG line here of the spheres that we drew for the, for the chicks that we can use to add some chicks on this guy. And here it is, our first cartoon character. Now let's use the same principle and design another character over here, an animal character using the same principles. I'll do that in the next lecture. I'll see you there. 5. Drawing a Bear according to the structure above: Hello students and welcome back. I hope you had a nice break and you had some coffee or tea or juice if your kid. So here we are, and we're going to design another character using the same principles, but have different proportions. Just to let you see how, how human proportions apply in a way to cartoon characters and how designing it this way, you can both mixed up human proportions as well as designing a character that has big, had large body, whatever. So here we're going to design an animal character. Let's design a bear. So I'm going to start with much larger head. Again. You see, I'm using my arm, the whole arm to draw. And if you get used to this technique, you will never be afraid of drawing. I'm drawing many, many lines, keeping it flows and having this body. Now, let's, let's find the middle line here. So I'm going to have this character standing up, just right both. And now I want to have the head build really large, almost. I don't want to have any neck. So I'm going to draw a very tiny bear body. So maybe you like that over here. And I'm going to design almost the same line to where the feet are standing on the same line like the boy and have the legs being over here. So what do you notice immediately? The proportions of the body, according to the legs, are very similar in principle as the way we designed the boy. So, so if you draw the lines where the hips are, you will find the hips over here. You will find the shoulders over here because I don't want to have a visible neck like that. And now, where are the needs of our bare? They're almost here. So this part and this part is very similar. And this pot and the knee, if you bend the knee, it will come approximately over here. It's not exactly, this part is a little larger. But let's find the knee over here market with a joint, with a small ball. Here are the feet and you're going to have large, large fit, much larger than the kids. We're going to play with proportions, but some proportions are like human-like. Another thing. Let's find where the arms are. And if we assume that the bears waste is over here, if the belly button is over here. So the arms, let's put it a little bit higher up here. So if the belly button is here, so the bear's arm is going to end up here, the elbow, and the low part is going to be over here. And let's find the other arm. So let's have the upper arm. And the lower arm should be approximately the same. And it will end up over here. And now let's have some polls that are very large, large pores, so they're almost reaching down to the ground. This is where I get disproportional. But the proportions according to where everything is, has the same anatomy as a human being. From here on, Let's design or Bayer. And again, I'm going to have a very young bear. So I'm going to keep the bear's face over here and have the bear her very large head. So I'm going to have the bear's nose B over here, draw another sphere. And let's have the bears eyes. This, this huge, huge puppy eyes. Over here. And let's find the pupils. Have one pupil here and another one here. And you see that when I have this pupils are having one larger eyes than this boy. And I'm going to have the bear's nose be like a triangular over here. This part. And I'm going to have the bears mouth. So this line will continue here on the face. And I'm just going to split the bears mouth into and have the law part B, the buyers mouth and then just gone in shade. This eyes. I'm going to give it some eyebrows to have a cute, cute pair. And now on both sides are approximately find kind of like just draw another line here and have where the ears are going to be. 40 years. I'm going to draw two small ellipsis spheres, just hold them out like that. And that left having this small ears like that Laughter Bear, having really, really large hat. So now let's continue refining. Our character. Does have the ears like that. And we already see how the character look like and have the whole face of the bear. Now, you can just repeat those lines on top of the bear. And now let's do the sausage thing. But because I want the arms to be a little bit chunkier, I'm going to make larger sausages, dots and extend the little bears body and have one sausage here and one sausage here on both sides. And now let's less refined even that. I'm going to refine the bears lag by connecting these sausages. Again, remember they're just help lines and draw the feet and add some nails or tos for the Bayer. They don't have shoes or at least this bear one tap shoes. I mean, some animals intentionally have dress our dressed up. And now the only thing to have S just to connect the lines. And I'm going to have this bare, have the arms like that. Just connected here is just everything is given. You can play around with the proportions and have the arm being really just maybe you have just one pole here and you have basically the bare dumb. Now, let's refine it with the black pencil and leave at least some white for this small light that we are talking about. To make it look more alive. Maybe you can leave one here as well. So it has this shiny nose, nose, as animal knows. And then we're going to have the nodes here. And Let's do some, don't, some have some whiskers. We're not going to draw the whiskers, but we don't see a lot of whiskers on there. So it's going to be more like a cat. If you do that, which is not wrong, you can turn your bear into a cat. That's fine too. But we said we're going to draw a bear. So everything is about practice, but it's also about having fun. Exploring designs is not going to work. Maybe every time the way you want it. Because the thing is that you have this image in your head, how you wanted things to be and suddenly they don't get that on paper. And they might get even better. But because you have had some intention of what you wanna do. And you say, Well, does this got really, really bad? I'm going to bring you the good news. The good news is there is always more paper. Just start over and you will find many, many different designs. And if you have taken my other courses, you know that I give you so many different approaches of how you can do cartoony characters. Account how you can draw anything you want. And now I don't even need to design this bulkiness here. I want the arms of the Bayer to be straight. And maybe just designed. Draw this a little. Thumb and the other arm. I can just draw it like it's bent backwards. So I don't even need to draw the toe or the thumb. When you draw and when you talk, you kind of get into your space and talking becomes weird. So sorry about that. I hope you understand what I mean as I'm showing it alone. And this is very meditative as well. Because it kinda stops everything. All the worries you have, all the problems who's gonna do the dishes or I was going to take out the garbage. Or if you go to kindergarten, who took your bow? Goes away and you're having a lot of fun. It's never, never changing, no matter how many, how many years you are, how old you are or young UR. This process is still the best thing you can do for yourself or meditation or just having fun. So here is our bear, which design that where the same principle, like this boy. And if you want, you can have also some clothing on the bear. Now, you can have here the neck, you can have some shorts maybe. Now we can draw on top of the belly button. They can have some shorts and that extend the leg. But now you have the structure of this character and you can draw on top of that. So I'm going to shade it with different colors so we can see that their trousers, because once you drew character, you already see those lines. And you see it takes time for your brain to adjust and not see these legs. And if you show this drawing to some new person, then will not see the blue lines. They will not see even those lines. And they'll see addressed there. Uh, maybe let's have this bare, have the t-shirt on small dots or spheres. Just to see that this design of the t-shirt is different than the bears. Other parts of the body that it has some pattern that symbolize that this is just a cloth. And now even the belly button has disappeared here and it looks like some belt. You can just play around without. So here we have another cartoony characters just using the right proportions of a human being and playing around with shrinking the body, extending the head. But the balance of those proportions are equal to the human being or to the proportions of a real human. So you see how doing dots with cartoon characters can help you actually learn more for yourself and still learn about the proportions and figure drawing of a human being. Now, let's do a different exercise. In the next lecture. I'll see you there. 6. Long Legs, Short Body: Hello there and welcome back. Now, let's look at some cases where the body is really, really off. And you have really short body with very long legs, or you have a really large body with very short legs. How do the proportions look dentin? Because, you know, in cartoony characters, anything is possible. You can go wild with proportions, but there are still some measurements that make your character very well balanced and it looks better if you know them. So let's design a guy that has someone like a despicable Me, e.g. as really small bodies. So we're going to start with the body. So let's start drawing or spheres and has mostly like a proportionate head to the body. So they're the same. We are going to shape these heads a little bit more differently. Now we have just an intention to have a really small body and long legs. So let's find the middle line here. And let's have his legs be dark long. Yes, that's right. And now you see that you can't do the same measurement as the one that we showed in a previous lecture. That the measurement of the upper part of the leg is similar to this length here, because that's not going to be true here. And why do we measure them? So we draw the leg and you see that I always draw the leg a little bit tilted because that's how a normal figure stents, they don't stand with your legs spread out. They usually stand with a leg put together and it's a nice spouse to have some symmetry to that. So let's have the legs being over here. And let's start with our measurements. What else do we know? So first of all, let's find where the needs are, because this is a measurement that is always good to have that the upper part of the leg is equal to the lower part of the leg. This measurement we can keep. So if we assume that the hips are over here, let's draw this line where the hips are connected inside the body and we're going to eyeball it. So somewhere here, I would measure that this part is equal to dispatch, almost maybe a little bit down here, but approximately like that. So this part equals This part is kind of like pretty sure it out where I measured. Remember that I my I is trained so well now that I can see what a middle parties and you gotta get that. For the time being. You can use a pencil to measure it. And you can measure this part and this part and see approximately where is the middle part. So the knees are over here. What else can we take into consideration? Let's draw the shoulders. Let's have the shoulders be over here. And now you see that we cannot have the measurement as the previous one where the elbow is meeting the waistline because that's going to be too short. Hands or arms? I mean, yeah, sure. You can do that as well. If you do short arms that are approximately as the upper part of this body, you can have them stretch over here. And they can be a really short path for a beggar balance. If you stand up and try to keep your arms straight, your palm will reach approximately just some fingers above your knee here. So our hands or arms will be that long and for a longer people, they go maybe a little bit lower down. Now we're going to keep them over here. And this is kind of keeping human proportions. The rest has nothing to do with human proportions, is just made up. So let's now start applying features to or a character. And this is a character that is a grown-up because the features of the face and the body, they applied, this is not a chart because children has much they have much larger heads. So who is this guy? Usually, when you have this lone guy, Let's give him a long nose as well. Have this features that applied to his face as well. So just have a long nose on this guy. And let's have the eyebrows beam over here like that. Whereas the mouth, if the if the nose is long, maybe the mouth can be even under his nose. I'm just thinking loudly here. You can even have the mouth here. Remember that in cartoony characters, you can heavier imagination running wild. There is no wrong way of doing it. But the proportions I'm giving you now is how you can make your cartoon character look balanced, well-balanced when you start working with cartoon characters. And I'm going to keep his face also small, so I'm going to ignore this sphere, but he used that just as a placeholder. So if I have a line here where one side of his faces, I can approximately measure where does this line apply on the other side of this middle line here? And measure the space it gives me from the sphere I've drawn to the line in. So I have some kind of symmetry. And again, I'm using, I'm drawing very loose line as you see because I'm I'm not a computer. I'm not super good at measuring at one. So I'm just drawing thicker lines to help me see where the face really is, where it becomes symmetrical. Let's draw a sphere for the chin here. Again, that's just a help sphere. So we can connect the jaw from this part to the chin. Maybe we can use that in the character design later on. What else can we give it less? Give him this weird hair. Just a chunk of hair over here on one side. And here we don't have to be symmetrical because the hair can be anywhere really. I'm going to give him a chunk of hair here. And I'm going to use this curvy lines that we use and try to find a haircut and maybe some hair strokes that just continue over here on the cat head. And now we have pretty much the figure. Before we continue with the face. Let's go back to your proportions. A good rule of thumb is that you don't finish just one thing. You go from one thing to the other until you see the right proportions for your character. Now, here, the principles of, the principle of the arm applies. Now let's do the exercise while the upper arm is equally long as the lower arm. So basically his shoulders are going to be I mean, his elbows are going to be approximately here. Let's add another joined or sphere to mark that. And we'll have the lower part here. And we'll say that. Let's bring up the arm a little bit higher up. And from here to here, let's say they're, the palms are like that. So if you measure and if you put all the Germans to start with and build like a stop-motion puppet. Like you'll see these puppets or maybe just puppets that help you draw. You've seen those wooden puppets. And if you do that before you design your character, it's going to be a placeholder for you then easily to add up the features. So let's continue with the face. We have all the measurements. And let's continue to see who this character is. I'm going to make really big eyebrows. Now. I'm just using the line that I already drew. And I'm trying to see the symmetry. Comparing the distance from this point to the eyebrow and comparing it for the same distance from this point to the next eyebrow. As I'll just continue with that. And remember, this is still the kitchen of our drawings. We can make mistakes. We're actually allowed to make mistakes at all times, because the more you draw one character the battery character becomes, and the more precise you are the features for the next joint. And you can still draw many, many lines on top of that. And as you see, eventually, we are going to end up with a nice contour drawing. Anyway. I'm going to make this tired eyes is kind of an old guy cartoon character. I'm not going to draw the whole eye. There's going to be like droopy eyes. And I'm going to draw his pupils over here like that are really tired, cartoony character guy. But he's going to be a rather happy, so I'm just going to make him smiling. So he's not super scary and super sad. So I'm going to draw the mouth just like a line. That's all I need. Now, let's shake it up even more. We know where the hair is, let's draw the ears. And as I said, the ears here is again approximately where the nose. And so if I take that into consideration and match them also to where the ears and approximately on the eyes, on the line of the eye. That will also give another human measurement proportion. And we'll bring the character closer to having a more human look rather than a made-up look, which it actually eats. It is a made-up look because such character doesn't exist. Is it basically caricature of a character? When you draw caricatures, what you do is you take some features, you exaggerate them, and you keep other features the same or at least the proportions between the features the same. So let's now design this character's body. We said that this is going to be his body. And what can we shade in here? Let's go and shape the shoulders and we don't see his neck. Let's give him some kind of a suit, maybe these guys. So we are going to use the middle line to find the middle of this suits approximately here. And let's give him pants that go to the waistline over here with the waistline is here. Shape his body. You can straighten up his body if you want to. Later on, I decide to bring the legs a little bit closer. So I'm just drawing a line again from the middle line. Curvature that makes the legs basically thicker. You can decide to make really small legs just like that. That's also okay. From here, you can, you can elaborate with this shape and really design a different character. But I'm going to keep this proportions and design some kind of hence for this guy. Go forth and back and choose, shall I use this line that I already drew? Or should we just move the features a little bit out or in to get the proper character. And basically when you look at it, your eyes will go on to lead you to what you really want to do. Here. I'm going to draw some shoes. So just follow me and draw some shoe if you see lines after this middle line and then it's just a triangular shape forward where the ground is. I've drawn a line where the ground is going to be so easy from there, like that. Spans. And then we're going to add some more details. Let's go ahead and draw even the arms and the head. I'm going to have him has small, small arms. And maybe the suit will end up here. Again, the suit will end up here. And I'm just connecting on top of the line that I already drew. Connecting for the arms. And here because the hand is in profile, which means you don't see the whole hand. We don't see all the fingers. We just see the thumb and the index finger. And the rest of the fingers will be maybe just small wines or shading. That's basically enough. And here we have our cartoony character shaping up. So let's design the costume little more. Maybe he's going to have some knots color about a tie here. Like dots and bringing the costume or the suit a little bit more into shape with a color on both sides. Now you see how easy it is when you have the construction to have this character. And now the suit is going to be really small because we've decided that this guy is really, really has a very tiny body. And you see that even though it has a tiny body, this guy has features of a human being and looks like a human being. You would see, well, I saw this guy yesterday on my street, right? Is that he had legs like doubts. But sometimes when we see told people, I mean, we see them exaggerated. It's like, how can you be? Of course, that's just a joke. I'm not saying that tells people are like, You know what I mean? Now you basically are ready with our character. Let's go ahead and refine the features in the next lecture. 7. Refining the character: Hello and welcome back. Now let's refine the features of this guy and add some fun details to him, who the guy is, and what what profession does it has this probably, I don't know, a clerk or something. And this level, I'm always thinking, what character does this guy has. Because every time you think of the character of your cartoony character, you add more personality to it. In your head. What kind of person this structure is, because they are real people. When you create them, they start having their own lives. And when you talk about his character in your head, you can add details today, a costume today, our faces that are kind of as a result of their personality and lifestyle. Because your lifestyle is affecting the way you dress, the way you talk, the way you comb your hair. It affects everything you do or personality. That's why it's so nice that we are so different. Because the way we express ourselves, because of our differences. It's so it's so different, it has so many variations. And we like to see different people. We don't want to see just one guy, one girl walking down the street looking exactly the same as the other guy or the other girl. We want to have differences. That's why it's interesting when you design your character to think about their personality. And that's really the fun of it because your character is alive and it has features. And now you see that I'm also leaving some white spot. That's gonna become like something you just do. You don't even think about it. Because immediately it gives more life to your character without any shading, without any other features or color. This white spot gives your character personality. And I'm going to draw his smiling face like that. And this guy maybe like maybe around 40, 50 either. No. And it has this long chain that actually matches the long body that he has, long legs. And here we have his tie. Maybe he will have some kind of a I don't know, some abnormality, something that is personal to him. He becomes a different character. And his tie like that. If you want, you can give the tie. Now. Other features like either no patterns of flowers and dots. Is it something that you can take in new digital program and color up? Or you do. You like you can play with the features. He said, Well, now I've talked about shorthands. Well, try them out and see how they work, how you feel about that character. Because sometimes you say something and you haven't tried it, and you don't know why you're doing the things you do. But when you try them out, you'll learn. Why do I do these things? I do and what motivates me to design this character precisely this way? Or maybe I like the other way better. Maybe it is something that you can add to the features of the character. Depending on the story. It's like a character with very short hands and you have a story about it. How this character has a really nice body, but very, very short arms and he can't reach anything for everything he does. He has to bend and take the things up. Right. But then that can affect his body. He can have a hunch just because his arms are short. There are so many possibilities and so many different stories come out with just brainstorming of who your character is and the motivation of the doing what you do. And I mean, for me, it's also good to do that here because. I have become, become so used to draw these characters as a character design. And sometimes immediately I want to find the perfection, the symmetry, and I want to find the balance in this character. Because I now know in my gut what I need to do. Something that you will learn. But sometime, sometimes breaking these rules will give me kind of different personality is something that I have unexpected. And that's the thing. And cartooning is that you can do anything you want. You can play with features, and it is allowed, everything is allowed. You can have your own style by doing that. But you see how his character, by just keeping the proportions of some features of the human proportion, is giving you a well-balanced character that has a well-balanced features. And this is something that some students have asked me about and that's why I decide to make this lecture seven. Yeah, we can do this justice, but what makes them look good? And this is the thing. You keep some features like human features. And here you see I make the shoes really long and I apply again another feature that the fit of everyone is coming up to the half of the leg. So I keep that measurement as well. And I don't do to feed very small. But this is another feature that is true to a real human being. And now I'm giving the shoe some texture. I mean, when you start without it doesn't, because you can add so many details. You see now that the bands are done, we can shade them and you see shading, I do with just tilting the pencil. And you see I called it even almost like perpendicular. Limit up, down, down. And just with very, very brief strokes go in between the contours of the character and you get this shading, which implies that the pants are darker color. And this is how you basically integrate, differentiate different textures and materials when you do a black and white character, as you see, this shading here is not as dark as the shoes, which applies that he probably has, maybe brown pants, but black shoes. This is how you differentiate them. And I'm going to keep his suit white, and I'm going to do maybe some stripes and see who this character is. He's like a funny, funny guy. It's a positive character because he doesn't have everything super normal and stiff. He has a suit that has this stripes. And that makes him interesting already. Who is this guy? Is he may be a lawyer or funny lawyer. And I don't know. You tell me who this guy is or find out who this guy is, like Delta, and it's pretty much done. So here is a nice cartoony character that we just did. Just coming up with the intention of having a small body, keeping the head almost same as the body, but applying human features and measurements like a real chapter on the legs, the arms, the shoes, the ears, dots it, and the character looks well-balanced. Now let's do the opposite. Let's have a really large body, small head, short legs, and see how that applies there. We will do that in the next lecture. See you there. 8. Short Legs, Large Body: Hello there and welcome back. I hope you're ready to start a new character. It's always exciting, it's always a challenge. And you don't know who you're going to get, you have a blank page here and in a few minutes, you're going to have an interesting personality that you just want to tell stories about. You want to animate two you want to send to your relatives. Not the real one. I mean, the drawing, right? So what did we say? Let's have a really large body. Let's maybe designed his wife that is exactly the opposite of him. Opposites attract. So let's have a really, really large body. So we start from something we intend to do and we kind of keep this line as the ground so we bring the body down and you see how many lines I already drew? Because I still don't know how large will the body B, this is going to change. And I'm going to have a tiny head over here. For his wife. She's going to be like a nice, grainy, nice. Let's first go ahead and do the usual. Let's find the middle line. And you see that I'm drawing with a couple of times just to see dots. When I eyeball it, It's approximately in the middle of these two spheres like that. So what else did we say? This person is going to have short legs. So let's design short legs here. And now. Again, the same thing applies here. There is no way that this part here can be equal. The whole this part here, right? So what kind of measurements do we fit in here? And now I want to break down even the hips because the hips cannot be in here. She cannot have the middle line or the midst of here. So now we're just going to imagine the legs. And the legs are going to have the same principle as the human leg. So this part over here is going to be equal to this box over here. So let's draw a line approximately in the middle of this dots where the joints are and also at the feet over here like that. And I want her to have her waist all the way up here. So I'm going to draw the shoulders like that over here. Very, very narrow shoulders. Okay. So she's going to be this large woman. And I'm going to also give her normal arms, which means they're going to be way too short. They're not going to reach in the middle of her tie, but she's going to have her upper arm being equal to the lower arm and it's going to be approximately on how waste so where is her waist? I've decided how waste is going to be approximately here. Social has a really large lower body. So I'm going to design the arms that are going to be like maybe up to here. And that means that her upper arm, this one is approximately on her waist. If we assume that that is her waist, and this one is equal to her lower arm. And then we have the hand over here. And let's add the other arm. And let's have the arm maybe having being on how? Waist, one arm. So I'm going to apply the same measurement from here to here. Now we are breaking the shape up a little bit with, you can measure it by using your pen, using your finger like that and measure this distance, this distance, and move with the pencil again where the distance is and just apply it. It's gonna be hard. It's going to apply approximately, approximately to the other side. So I eyeball it over here. And the lower arm is going to be with the same size. I'm curving the arm a little bit. And here is the hand just going to put a sphere here. And that's it. The construction of this woman is done. Let's now go ahead and find her features. Who this woman is. And I'm going to do a really chunky face. So I'm going to make her chin really big as well and put her face approximately over here. You'll see if you want to have some something appear big, make a feature that is around us really small. If I push the face up over here, it's going to make her chin look big. And when her chin looks big, She's going to look rather chunky. But she's not going to have unpleasant luxury is going to be the cute. Because remember who has all the features very close together, that's kids. And keeping the features together like that are giving your characters rather cute look. And I'm going to give her some round eyes, big eyes, like kids. But now I'm going to give her a large eyelashes. She's going to be a character that is very much aware of herself, of her beauty, and she's cute and she cares about the way she looks. And I'm going to give her also large hair. Let's give her chunks of hair like that. Just with spheres. You can make her hair look curly. Just put a lot of spheres on top of each other. And later on, we will just round up this feature even more to look like curls. Let's go ahead and draw the body. Apparently she's going to have a dress like that. And let's draw her arms. Let's do this messages here because she'll have a gonna have chunky our arms and the lower arm and her hands are going to be slightly small. I'm going to give her smaller hands because if I give her small hands, she will be more tender in the way and her upper arms will look even bigger. So I'm going to minimize the hands in comparison to the real features like that. And let's give her some dress and see how much of her legs are we going to see? I'm going to end the dress when you have the shape, our stomach, it's going to start falling from here. If it's not too tight dress. The material of a normal dress is just bending slightly where biggest parties, and we're going to curve it around a little bit. So to give the dress this kind of cloth material, it is not around like a doubt. And what else can make if we can design the translator. Now we see that we see only the lower part of her legs. But because we know why the upper part is, it is easier to just design the lower part of the legs. And we're going to give her very, very small fits. So this fit will apply again to the human proportions because this foot is equal, is coming to the middle of the lower leg to the curve and some little feet like that. And what else can we do? Let's, let's start be a skirt. Actually, social is going to have a blue and a skirt. And the skirt is going to be round as if it's going around her body. And because we said this is a waste, that helps us even more to define where the blues is ending. And she's going to have a sleeve over here and sleep over here on top of the cell search. And let's round her arms. And this arm is coming here. And because we lifted the hand a little bit, maybe she's holding it tight like that. And we are going to form just the other arm. And because we did the sausages, now it's very obvious where it ends. Here. The fingers, we're gonna do very, very tiny fingers like the heart and her chest. Her breasts are going to be here, so mark them both on the different parts of the middle line, almost like that. And we can figure out what's happening there a little later when we give the blues and the features a little more texture. So this is our next character. Let's go ahead and add contours with a black pencil. I'm going to do that in the next lecture. Go have some break before you come back and less refined and find out who this character is. I'll see you there. 9. Refining the Character: Welcome back. So now let's go ahead and actually a refined or character that bright of this guy. I had an uncle and aunt who looked exactly like that. Well, not exactly, but she was very short and he was very long and they loved each other through the whole of their lives. So he had to bend to kiss her. That were cute. So let's start and shaping up the face and the eyes. Now, it's easy part. And from here on, we can add texture. We can add some marks on our characters or dull or wrinkles or whatever we want to add and find out who they really are and refine her eyes. You see how easy it is now when we have the structure, when we have drawn and draw layer after layer, and you have followed me on thinking process, why you do the things you do. Why you add this line, why you keep these proportions but not the others? It is just a play of what you can keep and want you can change to get a well-balanced character. And now that we have her face over here, let's add some chin that is closer to her face and now she has double chain. That's easy. That was so easy. So now let's add the chunks of hair. So we're just going to pick some of these lines from the spheres and make sure that we just add some curliness to it, some small lines in-between that signified chunks of hair. So you don't need to draw all the hair, curly hair, because it's really, really a lot of hair. That's gonna take you a whole day to fix. But just drawing out some spheres like that. You can then use par of the lines from the spheres to actually draw the chunks of even curly hair. There is always a method in order to simplify and help your drawing process. So you don't have to think about in this whole thing. If you can draw it first time, you are lost forever and you'll never draw in the rest of your life. I mean, who does doubts? It's like saying, if you can't walk for the first time when your baby, you will not be a walker. You will not ever, ever woke. Again. It's just the walking and the drawing that makes you better and better at drawing. And you don't have to do it perfectly. The first, the second, the third, the thousands of time. It doesn't really matter. As long as you enjoy drawing, you will find your way, you find your mat, and you will be good at that. Let's give her some freckle here like that. Like this lady is really like him or herself and to, to buy maybe necklaces. So let's give her a necklace, more spheres. Now, on top of this dress thing, we'll use that to add small spheres as a necklace and have her being pretty the way she thinks. She's pretty. When we draw a character like that, we have to think of what do they like. It's not necessarily something that we like. We can be punks or we can like disco or like to dress in different clouds that are mostly like genes and modern clothes. But what does this character like? You have to come in, in her head and actually choose something that she would think she's beautiful. And then that can also be part of her personality. Why does she think that she's beautiful in these clouds? I've noticed people that some people are kind of like they've had the best time in the '70s and '80s or some age. And they kind of thing. That this was the happiest time of their lives. And they started dressing in certain way and they keep on dressing the same way, even though the fashion has changed. So we'll have to, we can think about why does, why do they do that and why our character thinks that she's good, good-looking by choosing these clouds. So she's having her hand in the nuts. Maybe next time I will draw her out. Maybe shrink the arms a little bit more. As I see now she can they can be a little bit smaller. I'm going to try to smooth them out so they're not like bodybuilding arms about. So far. Let's go along and designed this character and you see how her tiny feet make her look bigger. And gizmo personality to her, give her a look. Alike are really funny character, a really interesting character. Sometimes when you break down the different shapes of the character and you'll find different proportions. You make them more interesting to look at and to discover who they are. Again, it comes up with the differences, the different people that we are, and the beauty of doubt that we have different features and there is something in all of us to discover and to enjoy because it's different and it's interesting. We liked difference. That makes it interesting. So what else can we do? Well, let's give her some also dots here because it's easier to do at the moment. You can give her maybe flowers. Pattern. I'm going to just use delta because it's easy to do and it's quickly gives another texture to a clouding. And it makes character look more complete and more interesting. So if you want to add another button, triangles or flowers or smaller dots, you can do that or you can just leave it like that. And I'm going to shade her dress black. So she fits with her husband. They have this family thing. They have a blues or shirt, or a city that has some color, and skirt and pans are black or brown. That could be a thing. Some couple, some couples dressed like that. Similar clouds. That's also interesting and fun to watch. I mean, I do love people. I love to observe them and there's so much to discover and they never, ever sees to surprise me. That's why I think character design is so giving and so forgiving because that's how you can explore the personalities that you meet on your way. If you have a long commute to work, I mean, observe people that are around you and think about their personalities and later tried to implement them in your character design, you see how much more interesting that will become. So now we have these two different personalities. Again, what did we apply here? We don't see even her ears here. So we applied large body, smaller head, much smaller head. And we used the proportions of the arms compared to the waist. And the arms compare to in comparison to one another. Week, we didn't go with the hips finding thing, but we drew the legs very small. And the upper part of the leg is equal to the lower part of the leg. The shoes economy has this proportions like a human being, with a shoe being a proportion of half of the lower leg. And that's how he found a well-balanced character. So two different proportions, still using some of the human features on it. And I hope you enjoyed that. I hope you learned a lot, had fun. Design nice drawings and are ready to continue with the next lecture in a bit. I'll see you there. 10. Normal Proportions - A Cat design: Hi there. We're going to have a lot of fun. So relaxed. Had some coffee, some tea, juice. We're going to have fun. It is important to have fun. So here we're going to talk about weight, weight and balance. And first of all, we're going to design the character that we are going to play around with and do some weight exercises. And this character, I'm going to give some pretty normal human proportions so that you can practice with that. And I'm going to start with a hand over here. And let's have this be maybe a cat. It can be a girl, it can be a dog, it can be anything with human features. So I'm going to draw the body approximately here, a longer body like that. And I'm going to have the ground over here. So again, the hips are over here. Let's draw the middle line like that. And again, you see the hips are over here and the legs are over here. So this part of the heap, if you bend your knee, you're going to have the, this size equals two, the size up to the shoulder. So the shoulders are going to be around here. We're going to draw another line over here for the shoulders. And the lower part, this part here is equal to this part. So maybe the feet are going to be a little higher up. Something like that. You're going to get more shoes here. And let's do the other one. So let's find the knees. Knees are here. For a sphere. The hips are here. Put one sphere here. And once we are here, maybe a little closer. Because it's going to be kind of like a normal girl character. Girl, cat, the cat lady or the cat girl. Now, it's going to be a child character. So we're going to keep childish features because in some cartoony character and it's funny, it's much better looking to do. It's not like a princess, so she's going to be around 778 years old or adult age. The head starts looking normal. It's not a large hat. It's still rather small in comparison to grown ups, but it has already normal features. Now, let's have the arms over here. So if this is the waste and this is where the arm is going to end. Let's design that. We are drawing a line up to here. And the other one up to here, where the arm is ending and the head. And if the elbow is over here, the upper part of the arm is over here. So this is equal this. And it has a little bit place for the hand. And let's draw the lines to find the placement of the other proportions. One dot here, one dot over here for the elbow. Here is again the structure of our normal character. You see that the proportions, without even having any features, they look like human proportions. You see how is it this method is to find the proportions of your character before you even know who this guy arteries. From. Now on, Let's start drawing the character we said is going to be a cute cats. So we're going to draw the mouth and the nose over here. We are going to have some big eyes like that. This is the designer choose basically can choose. You can have eyes like just dots, but I really like big eyes because they have big pupils and they can be so much more expressive. And I'm going to draw the nose over here and The mouth of the cat over here and has some ears. It's basically a cartoon character that is an animal. And looking like human. Has the mouth over here and like that, and the lower part of the mouth over here and some neck. Okay. So let's go with the features we are, I want this guy to be actually dressed up, so we're going to have her upper body over here. I'm going to now draw the upper body. And if you want to split up a body of a character, you just use again, spheres as a place holders like that. So I can say this is the waste and you already know that because you have even this guidance of the elbow. So I'm going to round her waist like that. And like that. And you know, female characters, they have more of a waste, while men has more shoulders. That is a difference in design when you design your character. And now I don't want her to have chunky arms. I'm just going to keep the arms are rather small and close to the body. And her pulse or her hands, I'm going to give her a human hand now because I brought the body closer. I'm not using this line over here, the one from the sphere. I can even bring the arms closer. I can draw a line on top of a line with a blue pencil because this is my kitchen. Remember, This is the kitchen and I'm allowed to do whatever I want. I want as long as I want. And I want you to see doubts. I want you to follow me with that and see that this is a normal process. It is not something that you are doing wrong, you're doing right. Now. It is a normal process to actually discover your character. And I'm going to give her a big chunk of hair like that. Why not? Why not? She's going to look cuter. Any way I can make this character look cute. So she's maybe like some kind of a superhero. Usually, when you design characters that are supposed to be very likable, you design them with the right proportions. I think I know I mentioned this before, but I'm going to say it again. That is the way to make your characters likable. And I'm going to design here or width pants because we're going to do a lot of weight exercises. And I want you to see her where her weight is and how this relates. So I'm going to do some sausages on the, up on the inner part of the body. I want her legs to be closer together like that. And now I see that I have drawn her legs are a little bit longer than I would like to, so I'm just bringing it closer. Draw some feeds like pulse like that and draw another cell search for the lower part of the leg. I'm basically just doodling it out. This is like It's not a leg. It's a doodle. That's it. So don't be afraid to do though. It's fun and it loosens you up. It finds where your character is, really. How does your character look like without committing to any line yet, we have not committed to the final character. We're going to do that when we go in with a black pencil. Let's do that in the next lecture. So I don't keep you too long without a break. You need a break. Go take something to drink. And I'll see you in the next lecture. 11. Refining the Cat character: Well, hello there. I hope you got some refreshments. Now, let's begin with refining or Kat's character. This could be a girl as well. I just chose to be a cat because we already had a boy. Now, we can have a girl, a cat girl. The cats woman is still a cat girl. So I'm going to draw the nose here and add some face. Her mouth is going to look appealing. And let's see if I'm going to draw this chicks really. I mean, let's explore the version without them. Why not? Now we can start exploring the character. We already have all the lines. We need to have a nice character to have her body being proportionate. So here, from now on, we can just explore what kind of features we want her to have. And I'm going to around the ears like that. And this one, we have the middle line, so they're kind of like proportionate. And this can be a little tricky for us to start with you not to have the exact same year. I mean, you see that? I don't even have it exact year. If you want to do that, you will have to really measure, but we don't want to, I'll do that here. Well, let's draw this upper part of the of the cheeks here. Kind of look cute, didn't matter. And I'm going to draw maybe some whiskers. Now you have another cat's cute character. And let's see what she has as clouding. We said, she's going to look like a normal girl. Wait, pants. Let's give her some nice jeans. Maybe. Cool cat with genes. And the genes are a lockout. They're not on her waist. A little cooler, right. And if you're watching that and different time, that is not now. I can tell you this kind of jeans were popular ones and it looked cool about if we are now back to the '70s and we have upper cut jeans, sorry, that's not cool for you. Who knows how long these lessons are going to be out there? I hope you're having fun and enjoying whatever, whenever you're watching them. And I'll find some cool costume clouding for your own character. And I'm going to do also a t-shirt. I'm doing all of them with dishes because springtime is coming here and it's pretty warm. And I kind of want to think t-shirts. But if you're if it is winter where you are, I mean, don't hesitate to do longer slaves if that's comfortable for you. So let's do the genes and have them like the little normal features. So they have, we know already, where do you lower part of the body is? Are we now where the leg is? So we can also add elements like wrinkles on the genes. And now we can add the genes having this curvature here being falling on top of the legs like that. Cool called genes. And I've even twisted without even knowing because I'm always used to posing a character. I don't like a character that is standing straight. So unintentionally I've actually already put her wait a little bit on this side of the leg so she has normal, more relaxed posture. Remember when you draw your characters in posing, you give them even more personality and stand up, just having them. I'll stand straight. We want to see how someone is standing. And I'm going to do some large force here. And for now, I'm not going to add some shoes. Large feet. Again, the proportions of the feeds are kind of similar to human proportions, but slightly bigger because she's a child and I want to give her these cute look of Puppy where they have larger feet. And now let's round up these proportions of the arms. I'm going to bring the arms closer. And she's having here a pore here and some fingers. Same over here. This arm is closer to the body. Now, why is it getting like that? Because as we design and as we find even the waste and other features of the body, some features will move around because we're also posing the character. The weight is falling on this leg and you see that she's more like standing on this leg. So this is our character, Kat. She looks like a hero in like a normal character. There is nothing disproportionate about it except for the larger head. Because she is a cartoon character. Still. Otherwise, she reminds us very much of human proportions. So what are we going to do here is we're going to take that skeleton, that character, and talk about how to add weight to it. It means like how the posture changes when the character lifts stuff, when Gary's Harvest staff, when it's standing in one leg or basically everything connected to figure and wait. So I'm going to start doing it in the next lecture. I'll see you there. 12. Weight and Balance exercise: Hello there and welcome back. Now, let's begin the exercise of weight. Now, what does it mean? It means that when we lean on one side or the other, or when we carry something heavy, the poster of our body changes. It means that we lean and we place our body instinctively in that way that we can carry the weight in. As a character designer, as a, as an artist, you need to know how to balance your character weight so you give the right weight to whatever they are carrying, but also to make sure that they are imbalanced. So now we're going to start just by sketching lines. We're not going to draw so far the facial features and so on. But we'll take into consideration this character. And now we're going to draw this character caring, e.g. a. Heavy ball. So I'm going to start from the spine and the head. How does the body reacts when it carries a heavyweight? And you see that I'm now eyeballing those features that I already did. That's why I'm always glands and forth and back, four and back to my character. I know that these features are correct and again, adjusting them in my drawing, and let's have the heavy sphere, heavy ball being over here. So when we carry something heavy, we bend backwards to keep the balance so we don't fall as well as we tried to carry this weight. So the body looks almost like a curve like that. And the legs also goes backwards. So we are going to look almost something like that. And now again, I'm measuring, I'm eyeballing these measurements. So where are the arms? If we assume that here are the shoulders and he also lift the shoulders up to make sure that our muscles are handling the waste so we don't break or back. We're trying all the possible way to carry this weight and the arms are straight, then the pounds are exactly under the weight. This is the most comfortable way to carry the weight because if the arms are over here, this way it will not be, not be too heavy. And now we have the ni over here. The character is in profile, so we're just going to draw the body and the face over here. And the face slightly leans this way. So I'm going to just draw the middle line of the face over here. And the line where the facial features are, slightly tilt our head backwards so we can do anything we can with our muscles to carry this weight. And now we also have the other leg around here. Approximately. If these are the hips here, this is the knee. We have the other leg here. Or even slightly backwards. Maybe we can have the leg like that. This is something as more as you bend the body backwards, the heavier the weight will appear. And it will have some kind of effort to it. Now, let's leave this pulse right now, and let's draw the same pose next to here. But this way, Let's have the sphere or the bowl being maybe a beach ball. How would the body look like that? Well, if the ball is not heavy, we're not going to impose the same kind of strength to carrying that ball. So I'm going to start with a body approximately here. I'm kind of assuming what I had is and the body is kind of like standing in a normal position. So I'm just stretching the arms and the ball can be even here. You see it's the same size of ball. But this time the character is carrying it with the hands over here. And standing. If these are the hips. Here, it's standing like that. So now, how do you see the difference here? How heavy is this ball comparing to that ball? You can even have a larger bowl over here. It doesn't matter. The mat, what matters is to see how the body is reacting by carrying it. So now, let's do another exercise here. Let's do another exercise here where the character is leaning forward standing in one leg. Again. I'm going to do the head here and I'm always doing the body in comparison, eyeballing these proportions that I already gave my character. The character is going to be in profile. And this is the spine. I'm going to round spine line over here and the head is going to be slightly up. Now that I curve the line here, I see that I can lift the head a little bit upwards. And I have the shoulders here. And we're going to have the shoulder on the other side of the body so we don't see the other bowl here. And we're just going to see the arms being on the air just balancing out. Also try to do this. Pose yourself. You, your leg. If that's, those are the hips over here. Your leg your body is twisting the law part in one side and the leg is slightly bent. Again, I eyeball the size of those legs and I will know approximately where the knee is going to be. But by just drawing a curve like that, you already automatically get the middle line here. Where is the band of the curve as it's very natural. So the leg will be slightly bent and forward to carry the weight and the other leg will be in the air like that. And this is the natural pulse of holding the balance and the arms are actually going to hold the balance of this position. So if you have, you tried to stand this way, if your arms are down or if there are straight up, it's much more difficult. But if you spread your arms, you're spreading the weight on different parts of the body. And now let's do another very simple pulse. Again by character carrying the weight in only one side. So the character is carrying heavy bag on one side. Let's start with the head and let's say the bag is over here. Again. What we do now is we want this back to be heavy. So we distribute the spine, bend this way. Immediately, I drove a curve how the balance is going to be for the whole body. And this is going to be the body. So I'm just kind of drawing the body on top of this curve. And I'm going to find immediately the the shoulders here and the heavy weight is always trying to pull the body down. You don't carry the heavy weight. Over here. It does stretch your arm. The heavyweight is always down bands of the body in such a way that you can carry these heavy weight. So you basically try to place your legs and you balance out with your other arm like that to carry this heavy weight. Your heavier hips, balance out the way so you stretch this part as much as possible using your muscle strength and bend your legs so it looks like you are falling off balance, but actually this weight that is holding you in balance. So if you didn't have this weight and just drew this pose, you would gun a fall. But just with this weight, you see that you are completely balanced and the character is completely balanced and we usually spread our fingers like that to balance our body. You see how just with this simple skeleton that we started the character. We can actually also draw the poses to the character without adding any features to start with that and distributing the weight of the body. Now, let's go ahead and draw this poses now with our real character. And you see how this exercise, with the proportions build up actually gives you real character and how now that you have the browsers, you don't have to figure so many things out. You just have to draw the outlines of your character onto this poses. I'll do that in the next lecture. I'll see you there. 13. Lifting a heavy ball: Hello there and welcome back. Now that we have our character's poses done, let's add the character to it. So let's start with this pulse and we know that lots to do. So, we have to split this into two. Find the elbow. The elbow will be approximately here. So you can either eyeball it or you can measure it with your pencil. The way I showed you before. And this is the characters are cell. Now let's add the rest of the body. And we are going to curve this body over here to add the spine, the backside, and the buttocks of our character, trying to have really human-like features for this character. And the genes are over here. We said, if this is the, now the waste, we have a low cut jeans and we can do the sausage thing now for the legs. And you see that now one leg will cover the other. And the sausage thing here and add a pole over here. And the same thing for the arms. Very slight sausages because it's a small drawing now that we do that on paper and we don't have a lot of scope to do very thick sausages and basically allows do the face. And we already have the middle line over here. So let's do the face slightly towards us and give its facial expression later on. Now, let's do the middle line, even, move it even more towards us to add a little bit more, wait until the backwards. Now that we have the pose, you can move those lines for feedback, give even more exaggerated expression of character carrying this heavyweight. And here are the eyes. And the eyes. Maybe it will be closed for carrying this weight. And the year, one year is here. And you basically, what you do is you try to imagine where the ear of this character is going to be. The distance approximately from the eye to the ear over here. And we'll add a chunk of hair over here. And maybe we are not going to be able to see the other ear. Just very sketchy. And now let's go ahead with a black pencil and refine, refine this drawing so we can start with the face. And here is the nose on this middle line over here. That is going exactly around the sphere, because everything that is on the sphere is around it follows these parameters of the sphere that we are drawing of the head. And now we are going to give the character facial expression of a really heavy weight. So the mouth is kind of like like that we grinding or tiff when we carry a heavy weight so we can just draw or teeth like that. Giving it more exaggerated expression. We'll draw the eyes squinted and let's draw even the other eye on the other side of this line like that. And let's add some eyebrows here. That even, even though we don't have eyebrows over there, we can add some flashy eyebrows to convey that the weight is really, really heavy for this little cats and the whiskers. And now I'm going to shrug our shoulders a little more to make the, the weights are really, really heavy and just add the ears here. I'm going to jump from one detail to the next. So I make sure all my details are on the right, On the right place. And drawing the detail here, the sleeve of the T-shirt and continuing with the arm on top of the sausage. And now I have this half sphere here that is signifying where the arm is going to be. Here. I'm going to bring up the term of the arm on top of this sphere. And that's how easy it is actually to draw the arms. Now, when you have everything on the right place and I'm going to have the butt on this girl Cat. And let's draw even the ball. You can imagine already having maybe some stone, stone bowl or something. And just add the legs of the cat. Here is the front leg. The way those genes, some modern genes. Let's add texture of the genes over here. And the leg is really pulling back, trying to keep the weight of the cat. And the other leg is over here on the backside. And let's draw the pole over here. Just do the same process as the one that we did with that other cat with a normal pulse and this leg, we don't really see it and we can even just shade it in darker color just to make sure this leg is behind and we'll just have the leg bent on the backside. The whole poster of all this is already showing that this cat is carrying a bowl with heavyweight. So now let's add the whiskers over here on this side. And basically, or character is coming to live carrying a heavy ball. Yeah, so this is basically our first pose, just starting with the proportions and finding the weights before we even put the character in there. So having that in mind, let's continue and actually add the character to the next pose where she's carrying a beach ball. And I'll do that in the next lecture. I'll see you there. 14. Lifting a beach ball: Hello there. And now let's go ahead and draw our next poll, the cat carrying the beach ball. And now things are getting easier and easier for you. And why I draw so many of these exercises because I want to encourage you to draw and draw more. Because the more you draw, the better you become. So again, let's start with figuring out where the body, the shoulders, we have the middle line over here, bend just slightly. And now we're even looking at the chat a little bit from the front, and it is holding the ball a little bit at the site. So let's design the arms over here. The term is going to be over here. You can even find the poles and the time just adding some small lines like that to guide you where the tummy is, where everything is. And you see we have a hand already here with very, very few strokes. So the cat is going to be over here. Here is the body, here are the genes, and here is the waste of this cat. And so here are the niece of this cat. The sausage thing, the sausage thing. There is another subset. Another sausage just runs really, really roughly. Areas one leg, one pole or fit. So to say here is the other one. And then data, here you go, you have the Cat already. Let's find the middle line of these faces cat, it's all around here. And using this line, this middle line of the face, finding this part of the cat and the nose and just drawing the eyes on both sides of the cat of this middle line and finding the pupils little bit cross-eyed because it is. That's how cartoony characters are. That's how they look alike children. And now we're going to have an expression that the cat is smiling. This ball is not heavy at all. It is just light beach ball. So we have the cat's already figured out in all the ways. Now, let's just draw the pants. The genes over here and comparing it always with our model. That's why it's good to have your model on the side so you can always compare, compare it to your original cats. And now I'm going to ignore this sausage here. And I see that the cat, the leg is finishing over here. So I'm going to just have that as a lead to pull the legs a little closer together and have these pine line being really defined. And have the polls, the polls, the fit here carrying the weight of the cat and he's just slightly bend, much less than this one to carry the weight of this beach ball. That's it. Now, let's go ahead and refine it with the black pencil. And you can start from whatever you feel comfortable. Yes, I'm going to start from the face. Now. It's just easy peasy, because you have everything, everything there. You can just enjoy the process here. We have our happy, happy cat carrying a very light beach ball, not efforts. There is no effort at all for her to carry this beach ball around and play with it a little bit, throw it in the air. Yes, play with it. So the more you do, again this exercise, the better you will become. Some of these things are felt rather than non. You're not mathematician. You're an artist who needs to know your material. And the only way to do that is by drawing and drawing, put it into your body, into your system. In the same way that you know how to lean your bike. When you ride a bike, you don't fall. In the same way. You have the feeling of distance. When you drive your car without having to make the calculations of how long it is two, the next car so you don't crash. That's the same way that you are going to feel about finding the weight to your character. Because our bodies are complex, we have complex system of bones and muscles that are keeping us on our feet, keeping us stable. So we don't fall all the time and we can carry around heavy stuff. And we don't even think about carrying stuff. But when you have to draw that, while you basically have to know it, this is like a speaking a language without necessarily having to know the grammar. You know that when the people who actually know the grandmother best are people who are not speaking their native language in every, in the countries. They know the grammar, but they can speak. And it's the same way here. I can teach you the principles of how this works. But then it's up to you to actually get the feeling of this, of how these fields. And that happens only by practice. Because every new drawing, you have to, in a way, guess where, where the way it is. And you see, I use this even square fingers here, and I'm just using these lines and just giving them more volume to design the hand of this cat. It's very easy. It's very easy to use any kind of helpline, spheres, rectangular lines to design your character before you even give the character any flesh. And you see I'm designing the belt on this character using this middle line here. It's all help that I need is already there. And I'm going to put this belt thing there as well. And I'm going to shape the legs of this cat over here. And everything is already given to me. I'm just refining on top of already subject something that I have designed from Skeleton. And that's what you need to do. You need to forget about just drawing clean drawings in the beginning. I know you are impatient. I know you want to get there right away. But believe me, you will find such pleasure in actually putting life into your character by movement, by correct movement. And putting this last drawing of a character in eventually will be as the icing on the cake. You will enjoy it so much more when you know what you're doing. And now I'm even going to enhance the feeling of beach ball by adding some beach ball patterns. And you see, I followed the curvy line of the sphere and they'll longer it comes, the closet comes to the end of the sphere, the more bent they become following this pattern, these spheres curve. That is because there is a perspective to it of all the lines on the sphere. But that's another lecture and I have that talk about this sphere and perspective a lot in my course. How the ultimate guide to draw a cartoon characters where we use only spheres to design perspective of a character. If you're interested. I'm going to make this line thicker here. And here we go. We have our cat carrying a very, very light bulb compared to this one where the same bowl and you want smaller is much heavier. I forgot the whiskers, the whiskers. The icing on the cake, right? You look like a real cats, woman, cat girl. Here you go. Now, let's draw the next pose in our next lecture, I'll see you there. 15. Balancing the body Pose: So welcome back. Now, let's continue redrawing the character on this pose over here. So again, we know that the character is looking down. So let's find the character's face over here. It depends on you. If you want the character to look down or slightly up. I'm going to have the casual look around here. So we'll have the face being somewhere over here. And I'm going to draw the middle line over here. So this is the character's nose and the characters I. And it's going to be in profile. So this line has to be approximately over here. So we have begun to have only one. I am going to have the cat's hair and I'm going to draw the ear. And now we're not going to draw the whole sphere. We're going to find where the genes are. And we said the waste is approximately over here. Now that we drew this cat over and over again. And we have the front leg, the leg that is towards us, actually on the floor. So we have this leg over here. Let's find the knee over here, and let's draw the sausage. The sausage here, the pore over here, and the body is over here. Now, let's find the knee on this patch approximately over here. And I hope by now you are going to get the sense of measurement without even having to measure. I would encourage you to just measure like that. Anyway, even if you're roaming the first time, even if you get it wrong, just put this sphere here and here and here and draw on top of it, make it dirty drawing until you find it so that you get used to getting these proportions inside your body. So you instantly think, instinctively, feel where they are. Now, let's draw these genes leg on top of the cell, such thing. And let's draw the sausage here and here, and just continue these lines over here. Let's draw the pole over here for this leg. And this leg is going to be slightly shorter here because it is a perspective. This leg is behind this leg. So I'm going to draw the sausage here, the sausage here to find where the arms are. Just use that as guidance to find the arm. And just use this line to define where the spine is and where the stomach is. Here we have the neck on top of this curvy line here. That gives us this suggestion to find where the spine is. The arm. And we have the arms like bend forward. Here are the fingers and 23. And usually it's funny that you have just three fingers on cartoony character. Usually if you have, if you see Mickey Mouse and other cartoony characters, they just have actually four fingers with the index finger, with the thumb, they have four fingers. So it feels like kind of like character balancing. Five fingers is way too many dots. Okay, so we have our character sketch that out, and let's draw it with a black pencil. So I'm going to draw the ear here and the hair. We're not going to see maybe the other one, the other ear is and refine the facial features. Now we never drawn our character yet in profile. This is something also interesting that how do you guess how your character look in profile? Because we look differently from. All sites, or that is, your job as character designed to discover, to discover is this volume here of the cat? Is it something that pops out from the face or is it flat? How do you want your character to look like in profile? This is up to you. There is no rule to it. You will, you are the designer. I'm going to have a popping out a little bit and have the aisle look straightforward with the pupil here. And the cat is maybe smiling. And this is the cat from the side and have this whiskers are here and the neck. And here we have really the pulse already figured out where the sleeve being over here and t-shirts and the cat's body. And now we're just refining on lines that we drew with the sausages. And that thumb. And the fingers here that we draw just like small cubes. That's enough to look like real, real fingers and arms. And design the genes over here and the leg that is in front. Let's draw, draw some wrinkles of the genes. The nice. And go with the genes here, we see how the structure looks like over here. So I'll just add some wrinkles. Are the genes falling on top of the leg? The feet over here. This arm is also this hand over here with fingers spread out. And Tom over here and just follow the lines that are already given from the sketch. No more thinking here, just refining and finding out what is it that feels correct. What is it that feels right to me? That feels good now, because you already see your character done. So you can experiment, you can have your feeling. Guide you. And wallah, some whiskers over here. And now we have the character in this pose distributing the weight forward. And you see that it's very hard to tell if you haven't drawn it where the weight is, but it's approximately here. If you draw a line up, the weight of the character will be distributed in the set in a way that the bent knee holds up the weight of this heavy body here and head. And the arms and the legs are actually balancing out so you don't fall forward. And you know that if we bend the leg a little bit upwards, this body needs to lean forward a little bit because it's going to be really hard for us to keep the balance and not fall down. And even that pose is a very hard balance. So you know that you have to recall where we go with the arms and the legs and the body to keep that post steady if you are trying to keep that pulse. So this is a nice exercise to find the weight of your character. I mean, photograph yourself in this pulse and use that as a reference to see and feel how the body is tense in this position. So now let's do the last box here for our character. And I'm going to do that in the next lesson. I'll see you there. 16. Carrying a heavy bucket: So, welcome back. And now let's finish this pose with the cat carrying heavy bucket or something. And as you see, the weight is distributed somewhere here. So if you put a straight line down over here. So the weight of this bucket and the weight of this body is trying to balance out each other. Again, we're not mathematicians, we are artists. So this is something that you have to draw over and over to get it right. So I'm going to put the face of this character being over here on this line, on the curvy line here. Now you can see why we needed to draw so many lines and spheres in the beginning of the lecture, that wasn't for nothing, right? And we can see the, the waste being approximately over here. And now the, the hips are trying also to balance out this weight as much as possible. So having this keep a little bit higher up and this hip a little bit lower down. And finding the middle line here of the leg and the one over here. And the arm is actually straight down. So it is even if you stretch the arm slightly here, because it's the arm that is contributing the way it is. Shouldn't be curvy, it shouldn't be this this arm is straight, going straight down and trying to actually lean on the hips, on the body so it can carry these heavy, heavy bucket. And this one is just balancing. So eyeball the middle of these two parts as usual, and have the arm over here and have one line for the thumb here and one curvy line for the finger over here, and for this one, and this one. And now we have more elements than we had just a second ago. And this is a hand that is actually holding the bucket. And now let's refine. The rest of the features. Will find the legs down here, the feet. And let's start by adding the face. Will add the mouth over here, the eyes on the two parts of this, on the two sides of this line and the hair, the eyes, maybe we should also squint this cat's eye and convey struggle. And convey struggle even with the facial expression of the mouth and signify what the ears are. Just small triangles. Here. Where are the hips? Let's design the, the shirt to the searches over here. Sausage, so such, again, sausage, sausage here to very slightly because now we have small drawings and you want to keep it as clean as possible. And that's it. So now let's go ahead and actually clean up or drawing here, starting from the head. So, so just to get a clear character, now that she is carrying heavy weight. And we do some mouth like dots, which is conveying struggle. Very symbolically because all cartoon characters, they are most symbolic features. Stylized expression of human being, expression. That's what's good about it. Because it's easier to draw. And especially as a beginner, you can draw cartoon characters and actually train to draw a realistic characters as well. Because you can get the expression and look by very few lines and still have very realistic, very nice-looking characters with human proportions, as we do here, is much more forgiving. Because strong human proportions and getting them wrong is not very forgiving. The viewers and human, you will notice something is not well balanced, but here you are allowed to make mistakes and no one will notice. And you can get is rewarding feeling. It's not that it's wrong to make mistakes is just a reward that you get from drawing. Something. Nice will give you a boost to continue drawing it. And you see that now this curvy line that we draw is guiding me to draw the rest of the body following this character. And now that I have drawn it three more times or four more times, It's actually easy to apply. And you have my feeling also guide me to find the rest of the body. Now having a town over here on top of this sphere that signifies the hand and the bucket. We don't know what we have is in this bucket. We just filled out the bucket is already heavy, very, very heavy. Just by adding this pulse to the character and drawing on top of sausages binding the other arm. We hear the term, let's get them kind of like chunky, square looks as well. Like dots. They don't have to have nails and anything like that. And when you draw a character like that and you get a good balance, it, the details that you are drawing on the character as very, become very insignificant. Because they are because you have your character coming to life. And the details are not as essential for your viewer as the pulse and the feeling that the character is conveying. And now even this leg can be slightly bend the other one because we have already balanced the weight on this leg here. So it can kind of like trying to keep the weight of this leg and the balance on on the leg that is in front of us. And basically, that's it. We have all of our characters carrying something balancing out. And I hope this exercise, our whiskers, whiskers, I forgot the most important part, right? So I hope you enjoyed this exercise and you see how you build the characters from the ground up and not the other way around. You don't start by adding head and eyes and whiskers. And then try to find how the character is standing and what the character is scaring. But you start with a wait and try to find a balance with very simple shapes with lines and curves. And then you add the character on top. And in fact, I'm going to do such exercise in the next chapter, where I'm going to draw the same proportions but without having a character in mind and then adding character on top of it when we're ready with the balance and the proportions, and when we're ready with everything, and you see how easy that will become to draw something and then add the character when you have the body and the balance figured out. So just take a nice long break. Maybe a day or two. I don't know whatever you are at right now. And I'm going to see you in the next chapter. I'll see you there. 17. Sitting on a chair - Poses_Part 1: Hello there and welcome back to another section of figure drawing for cartoon characters. Now that you have tried a little approaches, Let's challenge ourselves here. This exercise will T2 that proportions are very relatable to one another and you can easily find the proportions of your character if you have this thinking process in mind that I will show you here. So we're going to do character sitting on a chair. And we're not going to have a specific character, but we're just going to use proportions for our character and then refine the character afterwards. So you don't have to have a model a character to, to hold the proportions too. That way you will be allowed to make the so-called mistakes. Because there are no mistakes in drawing. There. There is just trying out sketching and finding a real character basically is you cannot draw a perfect flowers are perfect character. If you don't learn. This method, I've actually drawn sketchy and free yourself from all the misconceptions that you have, that you have to be an artist from the get-go and you have to draw a perfect fourths and perfect character from the get-go. No one in any profession will say that to someone. You will not be a Dr. from the first operation or your not be an architect from your first building. Is the same about drawing. So this is your kitchen. Here is how you can try out different things. Now that you know about designs, Let's start by posing or character on a chair. And what do we have? The character hips needs always to be on a chair, or the character needs to be sitting on a chair. So you have that position. And you will keep the proportions of the legs and the arms in the way that we show that it relates to human proportions, it means that the lower border of the arm is equal to the upper part, the same for the legs. Rest of that, the proportions of the body and the head will keep fluent and to keep different. So we'll have a character with a large hat sitting properly on a chair. So we will have the body with the curve being that small and the head being that large. Let's leave that for a moment and go for the next pulse. In this pose, the character will be almost leaning on a chair. So let's have the character's body being over here. And let's take this proportions of the large head being over here, almost leaning on a chair with the head and the hips being over here. Let's leave that as well. Let's draw another character where the character is sitting on the side of the chair will have this curve. But now we'll have in mind that the character will be looking towards us. So the hips are going to be approximately here. Let's have this large hat. Again. I like that. And that's all we have to do. That's all we have to do here. Now, let's go ahead with this other poses. Let's have this time the characters sitting with his legs on the chair. So let's have the head being slightly up here. Let's have the body being on this side of the chair like that. And let's have legs here. So we'll have one leg here and one here. So it's kinda like leaning with his arms towards the chair. That's it. Let's leave that as well. What else do we have? Let's have a character here with with crossed legs. So we'll have a larger character, a larger body, because we need to be able to cross the character's legs. And let's have a smaller head here. And we'll have the legs over here. But let's leave that as well and design our last pose with just the head and the neck. It's going to be a character sitting on a chair or holding holding her or his legs. Let's have the spine really bent and the head being over here and very small legs. So this part of the leg is the upper part and this one is the lower part, and they equal each other, this one and this one. So we have those pauses that are already given and it's very easy to start this way. Let's put some arms and legs. And here you can start by designing this territory because you see the contact of the characters with the chair. Here, you can experiment a little bit with proportions of the arms, of the legs. So let's have this character being like a child. And let's design the body on top of that. So maybe like a round body. And let's have the legs being slightly smaller. We'll have the legs just hanging on the chair and the small leg. So let's have the proportions of the legs here. They are not going to be proportional to the body, but this part of the leg will equal this part of the leg. And let's have very large feet for our character here. And let's design the other leg in this going to be approximately on the other side. So we'll just see a part of this leg here and a part of the foot. And let's have this character having his arms on the chair. So we'll have Hand over here. We'll have the arm being over here. So now when we draw a line of the, of the arm, will know that this part of the arm needs to be equal to this bot. So naturally will put the elbow over here and our character will have maybe announced that is over here so we can define where the character is looking at. And that is all we need to know for now. For this character, Let's have the one, the character that is leaning forward. So we'll have the body being over here. Now you see that I can put as many lines as I want. I can put spheres, I can put whatever I need to put to basically define my character. How do I want the legs to be? Now, let, lets him have larger legs. So he leans down on the ground and he has the feet up like that. And the other one is a little bit further away because we have some perspective happening over here. So it's slightly, slightly smaller, assuming the ground is over here and there is a perspective going this way. So naturally, using the principles of the short body, large legs, we know that even though they are large and they don't apply the measurement of the upper part of the leg being equal to the body. We're just going to split this one into equal parts to find the knee. And the character's arms are going to be approximately as long. And you're going to have the elbow over here. And that part of the arm is equal to this one. So he's going to have one arm placed on one hand placed on his body. And it maybe he's just let have him maybe waving to someone. It's like bring me coffee. Let's have his arm in the air. And the thumb here just signify the fingers. Wet. Some some lines. You have the elbow naturally here. Why? Because when we curve the line like that, we naturally see that where the curve is bending is going to be the elbow. And it naturally appears that this part of the arm is equal, this part up DR. So we have this lazy character slacking on top of the chair. Now, this one, we said that this one is going to be turned towards us. So we have a body like that. And how do we sit now that you have your body turn towards us? One thing is that you design the proportions and the sitting position of your character. And one thing is that you have to think of how the body is comfortable to sit. Now you can't draw what leg stretched over here because that's not going to be natural. You can't bend these joints in that way. So the leg can be stretched down here. You will have to maybe try out this position, sit in this way that you're on the side of the chair. So one thing is that you're going to have your arms stretched on that chair or maybe leaned on that chair. I'm going to do just the different vowels. Does the arm is over here, bend on the chair. That will give me a suggestion. Now, how is this body comfortable? Maybe if their hips are over here, one leg will be bent forward. So we have a dramatic change, romantic perspective change, and we will not see the upper part of the leg from the angle we're seeing. We'll just assume that it is here. And then another leg come, another part of the leg goes in here. So we'll only see the lower part of the leg. And the foot is over here. And the other leg can be on falling on the ground, but you have to see that this leg is also needs to be comfortable. It means to have a comfortable position on the ground. So it just hanging from the chair does curved out and we will have one hand. Now, if the hand is hanging loose, is tries to basically reach the lowest position. There is muscles that are holding the hand here, but still the hand tries to go down as much as possible. And this character is having the other arm just placed on the body over here. So the shoulders are really, really twisted like that. Now this poses are done. Let's continue with the other pulses in the next lecture. Take a break and I'll see you there. 18. Sitting on a chair - Poses_Part 2: Hi there and welcome back. Now let's continue with this pose. We said that the character is bent backwards, sitting on a chair. So let's start by drawing the legs. And the legs is all this junk of mesh here that is going to be so here are the knee. And we'll have, you can decide how much flesh do you want this character to have on top of these lines? And the arms are going to be stretched over here. The shoulders are here because this line is giving us the directions where the hips are, you know, where the legs are starting from and where the elbows are starting to them. That's why this is so useful to do. And let's have a large hand or pour whatever it is. Just this character leaning on top of the chair, which means that the elbow naturally will be split and it's going to be around here. It will split this line, the arm into equal parts, no matter how big the body is, the arms and the legs are always half of the upper and lower part. So it's easy to take that into consideration. Will have the character sitting like that. And we'll have the foot being maybe at the site over here. And the other side, we'll see Giles, the foot a little bit here. And this is the stomach will have the fleshy characters, but we'll have the construction already there. Now, let's continue with this one. This one, we said that the legs will cross each other. So let's design a more proportional character here. So we will have enough volume, enough thickness or Solemnis of the leg so it can cross its legs. And usually when it crosses leg, it needs to support the weight of this leg. Here we'll have a foot that has taught us that we can see. So we'll have this proportion of the leg being equal to this one. On top of that, we'll have a leg that's coming on top of this one. And we'll have another lower part of the leg coming on top of that and a foot that is over here. And let's design this character's body being rather slim. So he can actually do this exercise here, like with the one leg crossed animal have this shoulders being over here. So this is more of a natural proportion of a human being where the leg equals the distance from the hip to the shoulder. So this distance equals this one. When you want to create more believable human character. This is what you can consider as a measurement. And we'll have the waste being over here. So we'll have these characters are being over here. And let's have this character may be sitting on a train looking at a phone. So let's design the phone here. I'm just a sphere or half a sphere for the hand. And you already, by these few strokes, you have a pause here, a very well balanced posts. On top of that. You can create a character. Here. Let's go with the last pose and have these character being maybe a tiny character that is either afraid or is just mischievous, sitting on a chair in an improper way, holding her hands. So you basically have the the arms are starting from here, so the body is really bad. And this posture signifies that the spine is really bad. So I can just maybe rough out the body here and just do the arms and the legs are already drawn here. And let's draw the feet just at the end of the chair coming down. And we don't know how much of the other foot we will see when we draw our character. But basically, those are the pulses of seating character that we redrew with very, very few brushstrokes or pencil strokes. I'll just say not. Now let's go ahead and design the character that have those poses. And I'm going to do that in the next lecture. So you have a little break in between and get some refreshments, come back later. And let's start with the upper poses and just start drawing or characters. I'll see you in the next lecture. 19. Sitting on a chair - Character 1: Hi there and welcome back. Now let's put some cartoony characters on top of these structures that we already drew. So let's start with the first one and just draw on top of what we have. And let's draw the arm. We know that this sphere here is going to be a hand that is holding the chair. And all we need to do to get that is just draw a thumb here and split this fear to in three different parts to draw fingers. That, that's easy. We have the nows. And let's design some head. Let's see what kind of character do we have? And let's flesh first the legs. Maybe you will just have sausage as for the legs to make it even more cartoony, not have any bones or any nice or anything. And let's maybe just draw a character that has very, very cartoony eyes. Very cartoony features are little guy and as some eyebrows. Funny little guy with a mouth and cheeks. Just the head. And it can be just a nice character. Let's draw his ear very roughly, just like a bowl. And just continue this pose here, this sphere and refine it. And let's have some hair. The hair can really exceed the head, and we'll just throw a chunk of hair here. We'll draw the hair around his ear. And here, over here. And just continue this hair on this little guy sitting on a chair and maybe a little boy, like dots and maybe around this chunk of hair here to give it more volume. And it's basically pretty much done or character. It's that easy. So we can maybe put some pants on them. Maybe just draw the shoes around out the shape that you have round up the other leg, the stomach, maybe the pants just thicken the upper line around the other leg on top of this line that you already true. And what is going to continue on the other side. So maybe just make the leg, the other leg being maybe underneath this one and shade that a little bit so we know that there is a volume coming in, but we don't really see it quite. So I'm going to have the pen's being up here. And that's it. Or first, a cartoony character is basically there. And now I'm just going to refine it with the black pencil. Draw all these features with the black pencil. So we have a real nice cartoony character starting from just the pulse, just starting first from a chair so we know why the character is going to sit and having the intention of how does we, do we want this character to sit? And we said he's going to sit with one arm holding the chair. And so we drew that. First. We drew how the spine is going to be with a line and we draw the head. That's all we had. And you see that following the line of thought that we had, we designed the legs, we designed where the legs are going to be and that this character is going to have really large hat. So when we design that, we kind of like put very small legs and we helped the proportions of a human for the legs, which means that the part of one of the upper leg is equal to the part of the lower leg. That's the only true proportion that we helped for the rest of the body. We have been playing with proportions. And that is what is different weight. Figure drawing for cartoony characters comparing to figure drawing for now, for real humans. And if you want to know more about how to draw proportions for real humans, you can sign up for my lecture, how to sketch people from life. Because sketching people from real life is the best way for you to learn proportions, to have them get in your system in a, just filling it naturally because that's what's going to happen. It's like riding a bike. And first, when you started writing this by q-hat four wheels, right? So you can support yourself not to fall. And this is Lecture is like that, is this four wheels of yours. But the more you draw, the more you draw. So people from life, this will come naturally to you. You will not even know exactly how to turn and how to balance on your bike so that you don't fall. So here is our first character that we defined with from just this shape. And let's, you can design cloth here if you want, and so on. But that's basically it. So let's continue with the next slacking character Who wants coffee. And let's see what kind of design we can figure out there and how to find the features of his body. I'll do that in the next lecture. I'll see you there. 20. Sitting on a chair - Character 2: Hello there and welcome back. So let's go ahead and draw this character. What kind of character is this character with this kind of posture? So let's start with doing what we know. So this character is basically have larger legs, longer legs. So we'll draw the sausage part here and we'll draw just the thickness. Or you can just around a line on following this curve here in the middle. If you want the arms to be thick. And because we are not on a digital tool, we can't zoom in. Here will have to basically be more careful with the lines if you want the character to be rather thing. We're going to have this arm being over here and the hand being slightly larger hand. And what else do we know? We'll have the body and we'll have the character's legs. So let's draw the legs. And we'll have a leg that is rather more defined and has maybe some knee here. And we have the pants like we did on the cat. There are slim and legs will have this one here. We'll use this sphere here to be the knee. Continuous downwards. Let's continue with 1 ft. Maybe it's going to be turned a little bit towards us. So it's not gonna be in profile for that purpose. Let's do a sphere here so we know how this can look like. We'll go on and give it a middle pouch being over here. That is what you do. So if you want to find the shape of something and you don't know, just draw a sphere on top of them. Tried to figure out how is this going? And the heels are on the floor. We know this arm is also equal to this other arm. We have the fingers being over here. So just thicken the lines that you already drew. Where maybe half a sphere and you will get this arm of the character and just draw the arm being like that with two lines following the skeleton line that we first drew to get the hand. And we'll have the hand being over here, the thickness of the thumb. Now, let's design the character. Let's assume that the character's nose is here. We'll have this be in the middle part. And let's design a large nose. Maybe being like that and a mouth saying, Come on, give me some coffee here. And we'll have a lazy look. So we'll have the eyebrows. And maybe we'll have the eyes being exactly like on this guy. Very simple eyes, just dots will have the eyebrows. Calling for the coffee. And I just wanted to keep it simple here for you so you can easily achieve success. It is very important to achieve success when you start drawing, because you will keep on drawing. And now let's draw these boys had differently. And it could be maybe even a girl, this one. So I'm going to just give her some pony tails like that. You can change your design at any time and give some features that signify that this character is a girl or a boy. And I'm going to give her some chunks of hair like that, a little bit. A little chunk of hair coming out of her face and a small pony tail here. And her head is leaned on the chair, like dots. So here we have fingers. You just split this shape forward and three parts. And we have a very, very simple cartoon character with a nice pulse. And now let's go ahead and refine that with the black pencil. Now it's just easy or job is really easy. So you can just refine the mouth. And I withdraw such Mao because there is a perspective change for the mouth this way. So to draw a correct mouth in this pose of the character, you need to account that there is a flesh going inwards, and that's why you just draw half of it. And this is an easy way to simplify a cartoony character and still have the correctness of the perspective being there. So this girl is saying, just come on, I'm here, give me some coffee. And I do not want to move because I've done my homework and it's really, really difficult. So I'm just taking a smaller risks. So not getting up for coffee. You can play with your character like that. And just draw the hand. And each time you draw this character later on, the batter, this character, it will become, you'll remember that the first day of any character is the first sake of any character. It's just going to improve from there. And this is just an exploration process always until you're done. And I usually draw my character designs over and over again from different poses to discover who these characters are, to discover more of their personality. Before I even go ahead and draw so-called real characters. Now I have some of her cheeks and draw her hair over here. Maybe she's, it's falling down this way. It's a funny Girl funny Girl character and have her ponytail. We have her shoulders here. And let's shade the head a little bit. I usually go as you know, for back with my characters until I find who they really are. And because I have this proportions already, I'm just exploring. And these proportions are giving me the freedom to experiment with the shape with some maybe wrinkles here with where the where the sleeve is. This is something that I can just be calm in knowing that the pause is already there. She's sitting comfortable on the chair. And now it, this is just details coming in and refining your character and just making it better and better. And that's why drawing first, with blue lines starting from the ground up and not the other way around. We'll give you this freedom. And I'm going to have the genes being over here. We don't see the belt because she's covered it in with her arms. But we need to have some kind of maybe differentiation between the upper part of the costume of her clothing to the law barred. Maybe we'll have darker shirt like that. Now we can have wrinkles on the genes. We can have shoes being here with maybe some, some snickers. And this one being over here and have the other one there. So refined the genes and this part here. And just shading this leg. So we see that this leg is behind this one. This is an easy way to create depth in your black and white drawings. Just just shade the parts that are behind the parts. And now we can draw the chair like that because we see her butt is sitting on this part on the chair. And now you can see we know where the ground is. This chair is ending over here. Maybe this, This foot is slightly towards us or the leg. The chair doesn't need to be on the same line because she can be turned this way as it looks like. And maybe you can shade where she's sitting on the chair to have even better contact with the chair. And even in this head to have a better contact with why the chair is. Maybe add some freckles to make this little girl even cuter. Maybe some eyelashes to small eyelashes like that. There you go. You have your Mexico to need character. I'm going to shake the head, but that's it. Basically you have your next cartoony character already done just by following these simple proportions. So let's go ahead and do this next character and see who is hiding in this little structure there that we have. So I hope to see you in the next lecture. 21. Sitting on a chair - Character 3: Hello there and welcome back. Let's continue with our other character. Now we said that this character is sitting on a chair with one leg or pull on the chair. So let's design that. Let's design actually maybe a little cat here. So we will design the poll. I'm going to bring that right on. And we have the small leg here and he's going to be a humanoid cat. So the proportions will be rather humanoids than the cat. And let's design a big nose here for this cat and small chicks. I'm going to use this middle line to design the symmetry of the cats on both sides of its face. So I'm going to have the whole Mao being here and I'm going to have the cats, the cat's eyes being a rather around and cartoony like the one that we did on the previous lectures. And they're going to be that big and a little bit tilted actually because this eye is rather in perspective. And it's looking from down to up. So I'm going to draw some eyebrows. Are suspicious Little Cat. It's going to be looking at someone out there. And we're going to draw a very large ears just to make the cat a lot even cuter. You remember that the kids have this large proportions and when we apply them to our cartoon characters, they also look very cute. But as you see, you can design any kind of characters. So I'm finding the inner part of the ear by doing a sphere and we had one sphere on the upper part. You can just use that and round out this features. And you get a cat's ear and the other year is going to be turned on the other way. So we have the little mouth here of the kitten and we got a really cute design, a ride on. And we'll have the arm being a hidden on the backside of the, of the kitten. A little bit around that, not as small. And now we have the kittens pore basically here just going downward. So I will just add poll with small triangles and maybe have the, the thumb here as well. Being kind of like a human thumb. And it's leaning on a chair and having 1 ft on the chair. And here we have the spine, will have the stomach on the front. And we'll have the other four leaning on a chair. So we'll have the poor being over here, just do another sphere to find it and connect the sausages, basically. The other leg here you have all the guidance that you need. And if you don't, just do another sphere and find where the other pulses, and that's it basically. That's it. We had everything we needed. So I'll draw the other pole with just a small town. There's a resting on the cat's leg. This is all. This is all too wet. So now let's relaxed a little bit more the cats arm because we see that it is struggling a bit. So it's not really leaning on the chair this weekend or repair or with the fine drawing. So we will have the cats are here and we know that this part of the cat, the arm is equal to this part. So we kept disproportions. We will adjust the chair. The chair is actually coming forward from the cats arm. And we'll just refined the other features for this character. Here. The ear here. And you see that this character was actually had the same proportions like this character's. We just decided to do a different character. Just putting characters on top of already ready structures makes your job so much easier. Because one thing why your character design is not working is because they don't look right there. Poses don't look right. As long as you have the poses Looking right, you're going to easily find the character. So this is basically the most important thing for you to learn that your drawing for cartoony characters. And I'm giving you a lot of different approaches because I don't know what's going to click for you. There are different approaches and I'm giving you those that I myself found easy when I draw cartoony characters and still find easy. And I'm giving you this and that because for different people, different approaches will make them comfortable withdrawing characters. You have to find what's, what's comfortable for you. And I hope that one of those approaches that I gave you is going to help you start drawing even better. And remember, don't put the idea in your head that you're not good at drawing. Drawing, like any other talent or ability, is a matter of practice. It is not a matter of talent. Okay, I would say that a musician is better than another musician, but they have practice more and they are actually, what I discovered is that they are even more relaxed in their practice than other than other people. So being relaxed and trusting yourself in what you do will bring you only better drawing and more fun and also much less stress, right? Because, I mean, you can feel disappointed if you don't draw the characters that are right or if you don't draw like me. Eventually, when you find your own style, you will stop drawing like me. I'm giving you justice exercises so you know that you can draw all this on your own. So I'm going to have the chair being here and refine the chair for cat because we see that it's coming along. And it was so easy. We know the character is sitting and adjusted the proportions according to what we want to achieve. And let's maybe give this cat some patterns on the head is going to make it even cuter and it's going to look even more like a cat. So I'm going to give at this stripes, a cat with stripes like, No, not like someone like Garfield, the orange cats. And I'm going to give it some patterns here. This is just about how you feel that your character will look like. It's already done with its proportions. I'm going to give it some belly button. Or if you want to give it some clothing. That's just alright because everything you need, you already have. And this is basically a cute little character. You can see how it's sitting. You can even suggest a little bit the lower part of the upper part of the leg with a line here. Just suggest that because we don't see it. It's on the other side. And you can feel how this character is sitting already. I don't have to explain how is this city now the pulse is totally clear to you, right? And that's how easy it is. Now, let's go ahead and give you some more training on these other posters and have the thinking process going there because it doesn't matter. Because the more you do it, the more you follow me in this thinking process, the better you will become when you're on your own. Draw your characters. You will know what you're looking for and how to think. So, I'll see you in the next lecture. 22. Sitting on a chair -Character 4: Hello there. I hope you had a nice break. And now let's go ahead and easily draw our next character. This character to me anyway, looks like a little girl sitting like that. So that's what I'm going to approach this character with the intention of. So I'm going to draw our arms, very small arms, and I'm going to continue here with the, the shoulders. And I'm going to have her, hence being a rather small. So these are going to be the fingers of my little girl. I'm going to draw cartoony nose like that. And I'm going to draw her on top of the sphere. I'm going to draw the mouth and the face like that. And just trying out, which is the best way to do. She'll have an open mouth. And this is something that you can use the sphere for just to have the lower part of the mouth. And I'm going to have large for this little girl. So another chunk of hair, it could be rounded, it could be more sharp like the girl there. And I'm going to have her eyes, large, large, cartoony eyes. Looking up at something. The eyebrow, and you can already see the character I'm sure of. Even though if I haven't drawn at that yet, I'm going to draw the ears and really, really enlarge her head with more hair. And I'm going to have a really a large ponytail as long as her body like that. And let's leave it there and find the other features. So she is having her arm over here and the fingers and just split this part of the hand in three parts and have a thumb. That's how easy it is. So we have her stomach here, her legs, as we already know. And we'll have the bend of her legs over here. And we'll have the chair where she is sitting. And we'll have the legs. They are already defined spheres. We see where they are and we see what the other leg are. And let's give her a dress, small dress coming up to here. And sleeve is here. So her shoulder like she's really stretching forward and having even her other arm and hand maybe somewhere behind that we don't really see. And that's basically it. Let's go ahead now and refined even this character where the black pencil. Let's start from the chunk of hair like that and round it up a little bit. Maybe have another chunk of hair here behind. Just for fun. Because we do have our character already. And just around her head on top of the sphere that we doodled out with many, many lines. Having her nose, her eyebrows. I'm always leaving a small white dots on my characters. So they're live, their eyes immediately come to life. I'm Ryan around the app, the mouth. Maybe I'll add some teeth over here like that. And just continuing the round face. Giving her some eyelashes. Like about and having her cuter and cuter and refining the other part of her hair that we see extending the head because, you know, the hair can be really, really big. So the head that we have is usually just or scalp, but then we can have really large here. And this girl does have one. And here we have her body. And her ponytail lying on top of the body. You already see where it is and her elbow is here. So the chair is over here. And here she's sitting. And again, as you know, we already measured that this part is equal to this part approximately. So she's stretching forward. So she's bending really forward. So you have to account for that in your measurements. When the spine is banned. It can look differently. Your measurements can look different than you will want to measure in the way the spine is banned. But you have to account really for that change that the body gets. And I'm going to just shade the APA, the other arm, like that's just behind. So we see that there is an arm over there about what is it doing? Oh no. We'll just leave it like that because it's on the back side and we're going to give this girl shoes. Maybe we'll have to see the shoes a little bit from the lower part. And just around them up like that. This shoes and the other shoe is also there, but it's further away. So let's say that like doubts and round her niece and basically just give her hair some shading. So it's, it's better. It looks better graphically and it gives you character completion. You see that when I shave the hair, I very lean my hand and have very, very thin lines. And if I want another shading, I just go over it again with very thin and easy lines. And if I want another shading, I go over it yet again. So if you draw with the top of your pencils, you will get darker lines. If you draw with a side of your pencil and slightly linear arm, you will get your hand. You will get more of a shading rather than, rather than lines. Now I'm into my drawing process and I'm thinking, Wait, I'll have to talk ourselves. I'll have to talk what I'm doing. And this is a good part. So if you start drawing, that you start drawing now it is so metadata if you forget about all your problems and you'll say like, wait a minute, I had a fight with my boyfriend. What was this about or or something. I had to throw out the trash. Oh, I'm sorry. I'll have to excuse myself that I was in meditative drawing state and I totally forgot time. That's what's going to happen to you. It's so nice to draw it so meditative and it's very healing as well. You forgot, you forget all of your problems. So let's give some pattern to this girl. I'm going to go with the spheres because it's the easiest. And it gives some different differentiation of the clothing from the other parts of the body, especially when you have a pulse like that, that many body parts are close to each other. I just gave a little bit nicer look. And that's basically it for this pulse or designed or character on top of what we had. And now you see that we have two empty shelves, just skeleton design. And let's go ahead and draw them as well and see who is hiding in there as well. And I'll do that in the next lecture. I'll see you there. 23. Sitting on a chair -Character 5: Hello there and welcome back. Now that we have this spouse, someone looking at the phone and we have proportions closer to a grown up. Let's do a grown up cartoony character. So one thing I'm gonna do, I'm going to use this sphere and neck to design kind of a guy looking at his phone. I'm going to design a large ear, which we'll assume he'll have a very interesting proportions. Maybe he'll have a hat. So I'm going to start designing this hat. Just a caricature really of a normal guy. And I'm just doodling here really. I'm going to design a big nose like that. So I see that here are the eyebrows and here is kids little chin and just bite that we have a nice character. So let's explore. Let's have this line here. One hand that is holding the phone, discovering the form little more. So he has thumb so you just split that. You have one term here. That's what I'm thinking about. A thumb. And he maybe has the other hand holding the phone over here so we don't see the other arm. Just drew draw a hand that is on the other side. Let's design the arms. So just continue the arms that are over here and design long sleeves. And where the elbow is here. And what else can you do? You can design a color, maybe lets him have a blues, cold weather, something less have, let him have thin legs. So he's slightly relaxed because his hips are over here. And just continue or drill sausages if you want or thick lines like that. If you want, if you want to find the flesh of this guy. But now we have a bone that finishes over here on the knee. And we have the leg over here. We see this is the toss. So he has shoes on his foot. Let's design shoe. Just two lines to design shoe. And let's imagine how it should look like. So this is already looking like a shoe. Just make the design of the shoe with just very few pencil strokes. And he has a pencil or the pen structure is that usually it goes around the leg on the backside and it stretches on the front side. That's one leg. Let's design the other leg with now that the knee is over here and it's crossed the guy's legs. So we will only see a part of this his leg behind and we're going to see a lot of the lower part of the leg. And let's design the shoe. Now this can be a difficult and perspective to achieve because it's slightly turn towards us, as well as the twister dislike what's going on here. So to do that, you can do a couple of strokes like that to define the movement or the perspective of the shoe. And you'll have at approximately over here. So just like a rounded shape here we have the pants. If you are struggling, you just do it. Symbolically. You basically generalize, do just a sphere. You don't have to do so complex shoes. If you can't, it's up to you in a hurry as much as you're able to don't try to do things that you are not sure with at the moment. Well challenge yourself, really lame, but you need to be continuing drawing to become better. And to do that, you need to draw things that you see that you can draw. And now here we are going to draw the chair because he's leaning on this chair thing. So everything is movable. Is we adjustable? So you just go along with what you have. Urea, just urine do or not redo but just play around with it. Don't take it too seriously and throw your TV station or something. Because you can draw I can I understand. You can get frustrated. It can get frustrating. But believe me, it's going to happen. Just keep your TV's save away from you in case you get frustrated. Right? So now let's refine this character with these big nose. Let's have him looking down and that can look only just a line like that can make him look down. You don't have to draw any eyes. You'll see that you already have this character and where is his mouth? What is he looking? Maybe she's looking something shocking on Instagram. So I'm just going to draw his mouth and he's like, oh my god, the youth today, what are they doing? That kind of expression? This is basically or character done. Let's go ahead and finalize it with the black pencil and see who we got here. As a little guy that came out only the structure or whatever of lines and spheres and an intention of how the character is going to be sitting. You see why it's so much easier to practice with finding proportions for cartoony characters because they can be moved. If you draw a human being, that's not going to be forgivable, you have to follow all the time the rights of a proportion. You have to have the same measurements. The basically like those measurements, except the head is way too big for a normal character in this guy. But the proportions are very humanoid. They're mostly like humans. Okay, let's make him smile a little bit. So it's not this little guy. Maybe he has this wrinkled. So he makes him looks older, a little bit older. Let's draw his neck and draw his costume or whatever he has. We know where his shoulders are. Throw the sleeves. You see how easy it is now that we know where everything is. To draw on top of that, I'm repeating it over and over because I basically, I know that you don't believe me with every drawing, you're wondering, oh my God, what's going to happen with this drawing now? I made it through the other drawings, but this one is really hard. So I'm telling you over and over, just do these exercises and sit on a chair and just photograph yourself. Let's draw this form here. And the hand that is behind him and sit on a chair and photograph yourself. Use those images to draw your characters and have in mind, think, where are the hips? Where is my head? How am I sitting comfortably? But as long as you find the hips and the head, you can play around with whatever you are getting those images. And basically just draw different sizes of legs and arms. And that's it. That's all you have to do to get better at drawing. But really you have to do it. An even better way is to draw that with other people. Just look outside your window or go on in a cafe and just try to see how people are sitting, how they are drinking, how they're walking. And find out where the hips are, just with lines and spheres and where their heads are. The most important thing is that the hips and the head and how the spine is moving. If you have that already, you can design any kind of character. And it's going to look good no matter what you do. It's very, very hot to fail when you know those things. So I'm going to draw his foot over here that is on the site. You'll see that I've drawn shoes here. That is just a silhouette. Just for your sake. You don't have to struggle. If you want, you can design a nicer shoe. You have delicious here. The leashes or whatever. You have, the opening and closing of the shoe. And not delicious. It is hard with language sometimes, especially when you're drawing, you can come out in any way, but I like for you to follow me while I'm drawing and follow me along in my thinking process. This is the best way for you to learn. That's why I'm doing it this way and not recording videos and sound separately, because this is going to follow you everywhere, this kind of approach. So this is basically our next character. Now we have five different characters here. Let's go ahead and see who this character is as well. I'm going to do that in the next lecture. I'll see you there. 24. Sitting on a chair -Character 6: Hello. I hope you're ready for last character. And now this character has a kind of childish switching pulse. I think. So let's use that and create maybe another boy character. Let's exaggerate the head even more. And let's have the mouth being over here. Let's have the ears being over here. And let's design these guys arms. So I'm choosing this guy to have much thicker arms. So I'm going to thicken them a lot, much more than the other characters. So it's going to look even smaller. And I'm going to have the arm or the hand that is from the other side to hold this hand like that. So we will not see this hand, but we'll see some fingers here. This is an area where it's at, what's going on. You don't have to draw everything completely, but it will suggest to you how you draw it, how things are on the other side of the things that we don't see. So I'm going to have the boy's mouth being over here and the face. And now we have the neck a little bit over here, even though we don't see the neck, we know that the neck is here and the boy's head is tilted backwards. So how do we suggest that? Because we have the sitting pulse here and spying on all the way here and you know that the spine is attaching to the head or the head is attached to the spine. So they keep together. Otherwise, the head will fall if the spine is over here and this voice said is here and now, you don't know how things will go if that is a real person. So unless design these boys trousers and his legs. So we have this leg here. You can draw a sausage to see how this goes. So you can draw another sausage here on top of this line and you can have his feet maybe being slightly small or let's have like a normal, normal feed means that the foot is equal to this space here. So they are a little bit bigger. But just let's go along with that and see what we get. So the leg is slightly turned towards us as well. Now let's design the bot, the boys times he's going to have a small T-shirt. And here are the shoulders. Let's design the boys sleeve. Again. I'm drawing everything with some workloads or spring clothes because it's getting warm here, but It's up to you to put designs on this character. And here is the elbow of the little boy. Like that. Let's design his features. We have the small little nose like that, and we have the mouth. We have the eyebrows over here, and we have the hair here. And this way you see that I'm going for from bike while designing characters. So I have the scope. I can change my mind at any time. And let's have the boys, I being more of a cartoony kind of I here looking forward and having his eyebrow here. And having now the mouth of this little boy being here. And let's draw some cheeks on his boy. So I'm signifying a game that chicks with some, another sphere. I can do though, as much as I want. And I'll have the boy's smile widely like that. And let's shape. He's had very, very simple character design, really. I'm doing that intentionally so you can follow along and you can have fun. And let's have his hair and a chunk of hair over here, and a large chunk of hair falling on his face. And that's it. Basically. Now, let's refine. The boy is working weird when this thing here. But that's going to go away. So start withdrawing the eye. Like that. And the eyebrow. It's the same process here is no different than any other character. I'm just figuring out as I go along. I didn't know that to start with. And I'm going to use this line, like the tif of the boy having some chicks on top of this line here. And having his hair, chunk of hair falling on top of him. Having his face continuing stylized with the mouth. Here, we start with a body. The thing that we already drew. We start with and we round the spine. Now, there is no guessing process really. It's just fun because you have the new guessing process before with simple, simple shapes. So I want to encourage you to do such exercises over and over. You know, when you want to learn something, you want to learn it and get done with it, I'm going to bring you good news and bad news, right? So what do you want me to start with? So you will never be done. Which means that every time you improve, you will want to come to the next level. So you will always develop. And this is both the good news and the bad news is the same news. But if you think that you're going to draw it out and be done, well that's not gonna happen. So I'm going to bring a term over here because I sat there are arms and hence that are holding this hand. I'm just continuing this hand here and suggesting the other hand on top, this one. I'm also suggesting that this other shoulder here is going forward with very, very few lines and shading. And I'm also suggesting a small neck on this guy as well. So I'm going to round out his butt and I can add some wrinkles for his pants. And having a sitting position here, shading his pants with different color. Just to give it clear, to make it clear that these are different kind of texture on the pattern. And now, let's just go ahead and finish our character. Make it as close as possible. But if you don't make it a skewed, skewed as you wanted to make it. There is always another paper to start with, right? So the thing is you can never be done or whatever your level you read, you will always want to get better. So just relax, relaxing the join. You don't have to rush, you don't have to curry. There is no a point that you are going to wanting to reach. But the more you draw, the more you will change your, your goals. Because now you just want to draw like this person or this person. You just want to make something in a pretty, before he started this lecture, all you wanted to do is to start drawing without having to do all these sketching and doodling and blah, blah, blah. You just want it to be born artist. You wanted to draw from the outlines down. You wanted to draw something pretty from the get-go and you thought people who did out or very talented. And you'll say, I don't have a talent. And now you know, this is not true. So the more you involve, your next priority will be to become better. And the more you draw, you will see that it's vast. It's how many, how much more fun you can have. Along the way, how many more characters you have to discover is just fun forward on from this realization that you now have is so much more liberating and so much more fun when you know, talent is not defining you. It's your practice that is defining your end. The firm that is defined in it. Because if you don't have fun, you will not continue doing it. And that's the end of it. So as long as you have fun, just do it, keep on doing it. So here we had the sitting exercises. I hope you had fun the magic word. And now let's see what the next lecture is hiding for you. Goodbye for now. 25. Figure drawing in Sports - Poses: Hello there and welcome back to another section of figure drawing for cartoon characters. Now that you have the opportunity to try, involve designing characters and also have them in motion, trying the weight and balance of characters. We're going to challenge ourselves with another exercise and sports. In sports, the characters or a body is moving constantly. So when you draw cartoony characters during sports, what is important to take into consideration is which pose describes the best the sport that the character is engaged, and which pose is the most extreme pose for that spot. So let's try just by doing a random characters. And now we're going to use so-called RAX. Rax describe motion of the character and can easily help you find the balance of the character because our bodies is in arc, it means that there is a spine and the weight is balancing on the feet in a certain curvature that is called arc. And this is a rule of thumb. It is now a rules are written in stone, but something that can guide you when you draw your characters in balance and when they are in motion. So let's approach this exercise by drawing characters, the motion of the characters, and not worry so much how big are the arms and the legs? But just follow the exercise by trying to get the motion right. So let's do football here. So when you have a football, so one leg will be starting to hit the ball, which means the whole body is basically balancing on this side and the ball is over here. So let's do draw the head. The head can be small, it can be large because it is cartoony character. What we care about here is the pose of the character, the rest we're going to figure out later. And now that we know the measurements of the leg, that low part is equal to the upper part. We can actually draw legs of different length. If we just take this into consideration, what happens with the body when we hit a ball. So one arm is balancing the same way that we did with a poster when the character is carrying heavy bucket. So we'll stretch one arm to balance all this way that is going over here. And one arm is balancing on the other side, maybe slightly forward. So the arms are like the tail of a cat is balancing the weight of the cat. The cat is jumping. This is what the arms are doing when the body or the humans are balancing. And the phase is over here. So let's have a pulse here of a character playing badminton. And let's do a similar arc like this one because they're using the same strength. And now instead of with the leg, we have the line of the arm and the rocket hitting the shuttlecock here as this is called. So we'll do that in one goal. And it is approximately here, hand holding it. And now let's design the body. How is the body standing? Let's design, Let's draw the head. It can be big, small head, but because it is cartoony character, we can draw bigger head. Let's push the body even more because the pulse is kind of similar to doubt polls that you James strength. But this time with the upper body. And you have one leg up front balancing your body and one leg. Is actually balancing the upper part of the body with just a curve. And you have one arm, front, also the same in a similar way, balancing out the body. Just draw that with different with some wines. And we have the pulse of the badminton, which is similar to football, but still different because you have a different kind of sport here. So the next one that we are going to do is basket. How do you dribble a ball with the baskets? So you have a body, you have a curve, lean forward. We'll have the head. The body is running but it's not running too fast. So we'll have one leg over here. We'll have the hips in this way. And we'll have the other leg behind, one leg picking up the weight. And with while keeping the weight steady while a running and with the other arm, we dribble the ball with the other arm. And you see that I'm drawing just curves here, which is different now from the body because you have learned how to discover how to measure the middle line of the arms and legs. And now you can just play with the posers. So we'll have the head looking upwards, so signified just with a nose. And we have that pulse here of playing basket and we'll have a ball in motion. So we'll have a slightly stretched the way you draw a ball when you animate it from one pulse to another. So we'll have this middle pose of the ball like that. So it looks like the character is played. So the next one is having a character throwing snowballs. And well, it's not really a sport. Maybe it should be. So we will have a character really gaining strength to push the ball into the air. If we have the character arms and we'll see what the connection is so we know what to bend the body. So now we'll have the body turn towards us. So the hips are approximately over here. And we will have a leg actually balancing out this strength and this this energy that is building in the body. And with the other leg, Jane in even more energy. So you push one leg forward and you have the other arm. Actually balancing, balancing dot pose. And that's it. We have the character that is gaining strength to push the ball forward. And this, these are posters that you can learn how to do, but it's all about observation. And that's why I'm doing this exercise here. So you learn to actually draw such pulses and for you to become natural to you that you can draw this poses in this simple way. Another pulse here, we'll do a yoga pose. So we'll have the body stretching over here and we'll have the body, a small body here, just stretching. If the head is over here looking upwards, we'll have the arms being on the floor stretching and really up. We'll have the ties over here, the butt, and we'll have the legs on both sides of the body stretching. And again, we can play with the proportions of the leg here. Because you can now eyeball this pose is very easily, I hope so that you have done so many exercises and you have another arm or hand being over here. Now, let's draw another pulse, lifting weights. And we have practiced with the weightlifting thing with the bulb. But how do you lift weights? If you are if you leave them on top of your head. And we're going to just take this balls, just place the head and again curve the spine so it holds the balance. Push the body forward. And we have arms over here. We have the weights on both sides. Arm. You can be a sketchy as you want to be done. Don't be afraid to sketch. This is, this is an exercise. If you want to draw this paper away, duet path, just keep your old drawings and to see the improvement of you. And here are the weights. And this character is pushing the backside really further up stretching to be able to hold these weights in the air and pushing the chest forward, curves, curves the back so the weights going to be heavy. And I'm naturally drawing this character to have broad shoulders because I associate characters that lift weights with broader shoulders and smaller legs. So I'm adding that here as well immediately as a personality to even get better perception of the character holding weight. And that's it basically, or six figures that for sports. Now let's go ahead and create some characters on top of that. I'll do that in the next lecture. I'll see you there. 26. Soccer Pose: Hello and welcome back. Now let's flesh out our characters to design a real characters. And now let's simplify it even more. So you see how easy it is less design the body on top of this character and create a really, really simple character with legs like that. Kind of like triangular legs. So we don't have to find really the knee, but we know that the knee is over here where the curvature is. And we'll have the shoes being more like drops off. More like a triangular and very, very simple way like soft legs, very symbolic. And let's have the mouth of this character. We have the nodes already, will have the characters smiling, will add the same shape to the arms and just continue with the fingers on top of these lines. Just like small, small sausages to get the shape the same on the fingers, just draw small spheres or ellipses or sausages if you want and expand even the arm. The arm gets smaller at the end. This is also a way to design new character. Let's have GIs of the character here, just like small dots, like a guy character. And we will have the ears. And let's design some hair as well. On this simple character. Again with a chunk of hair here and having the hair around his ears little bit thicker than the head. And because we have cartoony characters, we can have as large head SV want really the hair, the head continuous hero or the hair, I mean, like that, add some more chunks of hair there, and that is our first character. Let's refine it with the black pencil. Drawing the eyes, leaving out some glands for the eyes. Drawing the eyebrows, drawing the mouth again, the cartoony mouth accounting that, accounting for the flesh that we don't see in the part of the mouth that we don't see. So we make a half mouth. This is also a very common way to draw cartoony characters that are very stylized and allows for interpretation of the shapes and forms for the cartoony characters. So from this time on, it's just fun. But I'm going to do that with you here so that you follow me in this process. And this is yet another exercise that is actually similar to the other exercises, but with different poses. And the more you do it, the better you will become. And by now you can see drastic improvement of your drawings, I think. And I'm sure of because that is what happens from not being able to draw, to be really, really handling proportions and movement very well. So expect that to happen as you go along and draw along with me. And when you do that and when you see how much you are improving. You will also understand how easy it is and how this playing around thing and scribbling with the pencil is so useful and good for you. I'm going to draw the fingers here very schematically. And this one as well. These fingers are going to be thicker and larger because they are closer to us. So everything that is closer to us has a perspective that makes it look bigger. And if this things were closer together, they would have looked very, they would have had the same size. And now we place the football here and we'll have some pattern of the ball. I don't play football, so I don't know the exact pattern of the ball. I usually have to look at it. But if you are very interested in football, you can make this squares more precise, but just with dots. You can see that we get this ball. That is basically our football. And the character is Janie, energy to hit the ball. And basically, this is it for the first character. Let's go ahead and draw our next character playing badminton. In the next lecture, I'll see you there. 27. Badminton Pose: Hello there. I hope you had a nice break. Now, let's continue with the next one with a badminton game and refine the features. Now let's have the nodes of the character here, and let's have a girl character playing badminton. So I'm going to draw again a similar mouth. And I'm going to give her a haircut. I'm going to draw the same kind of very simple eyes so that it's easy for you. Also to draw these eyes. You can have characters that looks anyhow or really. And I'm going to give her some hair in flying in the air and chunks of hair just to make her look cute. Like dots. And I'll have a year being over here and hair coming around the ear. And let's see where the hand is. And if the hand is before the body or the other way around, this is something that you can figure out. I'm going to do the arm in front of her body and have the ponytail being here and behind the hand, the arm. So we can really see what's going on here. And I'm going to draw the fingers just by doing some curvy lines, three curvy lines inside this sphere. And I'm going to have her having a dress. So I'm going to have very simplified dress. And I'm going to have the other arm stretched forward. And now that I know what the legs are, I'm going to have her legs just the lower part of her legs being visible. And I'm going to do the same shoes, kind of like, like this one. Black shoes or darker shoes. And I'm going to have this part of the leg being more visible. Because basically the dressed is coming forward when she is leaning and the dress has also certain movement to it. So I'm going to draw even her other leg in similar way. And I'm going to draw her fingers again like sausages. 123. Again, three fingers for cartoony characters has become some kind of rule. I don't know why. But it looks it looks pretty good actually with just three fingers and we'll have the racket down and some kind of nuts on it very quickly. And we have this shutter shuttle ****, which is a funny word. I don't know why. But that's what the name is like that. So let's go ahead and define even this character. Maybe make her eyes a little bit rounder than the guy's eyes. This is just our design thing, really. You can design this character. You can also design a cat, as we did before. It is up to you what kind of character you can put now in this placeholders, in these poses. And it's a lot of freedom from this point on. When you have the placeholder and you know how the pulse is, is looking. So I hope you are having fun drawing dots and pausing the video when you need to see how things are done. Good thing now that you can pause the videos, I had to basically go and learn from books. And our teacher, let us draw sketches a day. While. Why me what, 13 in art school. Because we had to get used to the body posture and we had to draw from real people. So we basically had hang, hanging around the railroad station. We drew people there and there were no places for normal passenger to sit because it was only asked from art school, just taking space, so they had to kick us out of there. And yeah, but this is the only useful way to become better, to draw people from life and also to draw this simple pulses if you want to become artist and draw cartoony characters, just doing these poses. What helped me a lot. Now you can find even images online and try to, to break them down into poles, this alike, like I've showed you here. And draw the hips, draw the legs. And you see as you, when you pose the, the body and the head, the arms and the legs can be bigger or smaller. And you can play around with the proportions. But the most important thing is to get the movement right. So there is no other way of doing and then just observing and drawing it over and over again. And then your, your mind, we are going to tell you when you make mistakes. So wait a minute. This arm needs to be a little bit longer or a little bit shorter. This body or dislike needs to be more on this side or this side. This is something that you are going to feel how to do. I promise you, this is the reason why I'm giving so much exercises of motion. So this is the next character. Let's go ahead and do the basket character. And I'm going to do that in the next lecture. Go take some break and come back here later. 28. Basketball Pose: Welcome back. Let's go ahead and start drawing this character here, playing basket. So we'll have the arm just dribbling. The ball. Will have the arm over here. And let's have maybe a different kind of character playing basket. So let's draw a big nose. Let's have him being really serious about this basket thing. And with the other eyebrow signifying, I'm going to beat you here. And I'm with them. Sneaky mouth, just struggling to hit the ball. Let's have the eyes coming from under the eyebrows focusing on the on the ball. And maybe have his face being slightly slimmer. Just the tip here, making his ear being a rather large ear, y-naught. And who is this character? Some kind of maybe evil guy deciding to win. So I'm going to draw big chunky hair is not as young as these guys. But we can get use to draw with the same proportion. Drawing older, older people, younger people. It is just a matter of how you add proportions of the face in this matter. So you don't have very small phase, you have larger knows which very insignificant for older adults. And you have more stricter, more smaller face. You don't have as round face. And you aren't like that feature after feature. And you have characters looking a little older. So we'll have this space here from the, from the round face that we decided to change. So I'm just going to put it into the character design that heel Gama have a large color, is freezing but still playing basket. So I'm going to give him some pens here. And let's design the legs. The legs. And it's just either you add more flesh to the legs. You know, the this point is where the the knee, the knee is and this is very easy now to see that you've done the other exercises. Maybe I don't need to repeat it. And we'll have just a very simple shoe. Let's design similar legs like that. So a rather thicker than these guys, because we are trying to design a different character. And just a very simple feet here and not the other arm is just showing from behind. So just around this out and this character is done. So let's refine it. It looks like maybe Scrooge or something, screwed up. Basketball. He wants to win all the competitions and never wants to let kids When basketball competitions. Now, there is a new story. Why not? I mean, if when you draw like that and talk to yourself and find out who your characters are. You will find new stories as well that will lead you to new stories. So you can have yourself surprised by talking and designing different characters and what kind of character and personality they will lead you to. So I'm just going to have schematic ear and very stylized. And let's draw the, the hair, some kind of Elvis kind of hair. Maybe he likes Elvis Presley or I don't know. It has a lot of products on his hair and all the gel just to keep his hair and neat. And now let's have his color being as a part of this design. This doesn't matter now because we know how the character is and anything we choose to do here, it's going to work out. Because we have the character figured out. From the get-go. It is just a matter of discovery from this point on and dress up this skeleton. That's a way we picked, maybe it's winter and he made me solve some kids playing basket. And he said, wow, Come here, I'll show you how this is played. Give me the ball. And he didn't they didn't give him the ball, but he took kids. Right? So now we got this character with kind of really baskets are determined basketball tournament to show the kids how it's played. But maybe he's not as good as she thinks. So have this dialogue in your head and see what is dialogue lead you to. I really like finding my characters and talking to my characters while I'm drawing it. Well, I don't tell this to my friends when I go out for drinks because talking to weird characters all day long. Keeping saying that's important to know. I don't want to tell them. I talk to aliens today where I talked to a guy who likes to steal kids basketball, and that's what I drew. And it's like What are you doing Now you so, yeah, they wouldn't understand. So this character is kinda done so shaded, shading hair to give more graphic look and more complete look. Just to have differentiation between different parts of the character. And maybe I'll shade even though the pants like that. And here we have or basketball playing character. Now, let's go ahead with the next bowls and see who is hiding in there. I'll do that in the next lecture. See you there. 29. Throwing a Snowball Pose: Hello people and welcome back. Now, let's go ahead and draw this character. Who can we draw here? I mean, Let's draw a little forks so that when you have your pulse, you can draw anything you want. So what does a fox? Well, it has a nose. So let's design the nose being over here. And like that. And let's have the mouth being down here. So just by using this middle line, I'm actually finding a different character. And let's have this large chicks. And the Fox maybe has a hat with our openings for the foxes years here. A warm hat because it is a snowball fight right? From the middle line. I'm going to draw the eyes one over here and one over here. Now, I'm spreading it out a little bit than the previous characters. Why? Well, because you can do that with cartoony characters. You can have the eyes closer together or further apart. This is a part of your design. I'm from that moment on. And I'm going to have the other ear being over here and the nice hats like that. And basically, that's my character. I'll have some eyebrows. Now what else do we do? Well, maybe the fox has some warm clouds, so I'm just going to do the body like you have a jacket or a coat here and it has some scarf. This scarf is in the air, flying maybe like dots. And just let's draw the thickness of the cout here on top of this arm. And the thickness of the code, even on the top of that are. And let's draw the pulse or the fingers of the Foxy like that. And more rather rounder fingers than the previous, than the previous characters because it's more of a fluffy design. So I'm just going to give her some fingers behind the ball and find that. And let's give her the fox warm shoes. So maybe boots. So I'm going to just start the boot from over here, assuming that this part and this part or equal to find where the knee is, that's already given. A1 here. Just thicken the part of the knee on top of these lines. And maybe we will go on and see the shoe or the boot a little bit from below here. So just make it a little dark if you don't know where it is, just doodle some darkness. Pillow. Make it easier for you to draw this character like that. And this is all we need to know before we start refining it with black pencil. So let's have some fluffy, nice half for our folks. Start drawing the eyes. As soon as you start drawing the eyes, the character comes to wife. And you become more motivated to draw them. And it's rewarding. You are dealing with real characters here because these characters, when you look at them, they have personality, they have life to it. And for the kids, if you put this character in the story, you know very well that for the kids, these characters exist for real. Can imagine how rewarding this profession is when you know that some kid is going to bed at night and believing. This character leaves for real and you pass. Real home, comes back to their parents. It's dinner. And he wants to know more about this character. They fall in love with these characters. And this is your profession. Or if it is not your profession, at least if you do those characters, this is what you give to other people, to the world. You give them your personalities of those characters, they will become real for someone, for you basically, I mean, I do live with these characters. I know what it is. They're talking to me and now I'm not crazy. Well, you'll have to prove that your normal as well dear friends will get there. And you have to be lucky. You will have to feel lucky that you have this desire to draw. It is very, very rewarding to create, create new life in a way. So we'll draw the soft scarf and everything is now. Given it's there, you just refine it fine. Maybe other features on top of those. Maybe I'll have a fluffy code, so I'll make thickness around here. So the code has slightly different design like that. And the code goes down and up because of this leg is in the air. The code is kind of lifted up by the leg on this part. And it goes down on this part. And I'm rounding the corners here of the code. So I can give it more softer look. The whole these designer wanted to have a softer look to it because of the fluffy, fluffy folks. So I'm rounding up the boots and the space here and now I'm just also shading. Shading the lower part. And there you go. You have your lower part of the, of the book. It's easy. That's how easy it is. Now let's go back. I'm always going for from back to make sure that my proportions are correct. That I don't go ahead and draw some detail and suddenly I notice, wait a minute, this is way too off. And when something is off, another thing is going to be off. So I make sure everything goes hand in hand. But maybe it is folks also has gloves. That's why I didn't think about that. If it's called. The fox will also have some gloves. And you see that even if you drew and doodle these lines from the beginning, you're not even seeing them and they kind of look nice. The design looks nice when it looks like that. So I'm going to shade this leg because it's in the distance just to give it some more depth to it. And also this arm. And maybe I'm just going to have some pattern on the scarf. Just to make the design looks even nicer. This is just adding icing on the cake. When you have everything they're designing, pattern, designing clothes. It's just so giving. And I'm going to draw the pattern over here and you see that I'm drawing a pattern on the same direction that these lines are. So I'm trying to basically follow the pattern of the head here to draw the lines. Because the character has a volume. It's not flat. Well, you can also draw a flat character. It's different kind of design, but I'm trying to give volume to these characters here. So the roundness of the character is expressed by following these lines of the sphere, the fox, and maybe give it some dots of the texture of the fox. The eyebrows of the little fox. And maybe just draw some snow. It's stepping in. In a snow, even in snow is not there. In the beginning. We can just continuing to refining our design to make it look better and better. So this is our next character. Let's do the yoga. Pause now and see who is this character hiding in there? Follow me in the next lecture. I'll see you there. 30. Yoga Pose: Hello there and welcome back. Now that we have this character down here, let's do another animal character and let this be of bunny. So one thing I already think about the bunnies that you have long ears. So we're going to add this to the design. By the long ears falling down on the ground. I'm going to have a fluffy ear here falling on the ground and the other one on the other side. And let's start by drawing large polls for this bunny. And having the arms of this bonding being a rather thick. And we'll have the bunny looking down here. Here are the cheeks, here are the eyes, and here is the nose of the bunny with very, very large hat. And let's do the pupil here so you can see that design. And it's really trying to relax. Maybe this'll stressed little bunny trying to do some yoga poses. And let's round up the body, pretty much follow up the shape that we already did. And have the leg of the budget of the bunny over here and the other one lower here, just follow. This, stretched these lines over here and maybe some fleshy leg on the other part. And let's draw the toes of the bunny or it's more like like pulse. So I'm just going to split this lower part in tree. And that's how easy you get pulse. So I'm going to do the same thing for the other side because this bunny has a longer legs or feet than the character we initially started. We have, when you have both, you can just add that initial. I cannot just add that as a correction for this character, the spouse. And basically that's done. Let's do some really nice tail for the bunny. Doing some yoga. And what kind of clothes shall we design for this bunny? Some funny yoga clouds. Maybe we'll have this tight pants and some very stretchy yoga. I don't know. Yogurt clouding. Maybe we'll do some patterns later on. But basically that is all you need to refine this character. Let's go ahead and refine it with the black pencil and discover who this bunny is. We'll have sports quotes like that. And let's design the face here with the little mouth breathing, having some breathing exercises. And the nose here on the bunny and the eyes, leaving out some white. So it has more life to it. And some dots for the whiskers. And continuing with the face of the bunny. Like dots and stretched arms, trying to do relaxing yoga pose. Why is this bunny so stressed? We don't know. You can think about it. Here is another story here with starting. Thinking of the story of this bunny again. And that's what's fun about it. Just take the edge of your drawing and just have fun refining these things. It's not a big deal. If you do it wrong, It's not a big deal if you don't get it from the get-go, it's gonna come down to worry. And another thing is like if you whatever profession you've had, you know, that there is a learning curve to whatever it is. I mean, even if you start working on at a store somewhere, you don't start working right away. They'll going to show you how to put different products in different places. You will have to learn where everything stands. I mean, everything is like that. There is no exception. So why would you why would you expect drawing to be different? Why do people or society, as this can this misconception that you have to have just tell him to draw I don't know where this came from. I have no idea where everyone knows, everyone who draws knows that this is not what's happening. You have a desire and you evolve while drawing, you have to practice. So even in films, you can hear the phrase like, I'm really, really bad at drawing. I can't even draw a stick figure. Well, why do they say that? I have no idea, but we are here to change that. So I'm going to do this 80's. I don't know. Pattern when they had this socks. Socks during the '80s, if you remember them. I got Jane Fonda and other Aerobics. Anaerobic instructors had doubts. So that was fun. So we'll do this for the bunny as well. And we'll have a spot where the bunny is going to have its tail, the yoga bunny. And this is it. You can refine it as much as you want. Maybe just shade this leg so you will create a little bit more of a perspective and push this leg further back. And this one is, so to signify that this leg is in front. And basically, let's do some flowers on our bodies, on our abandons costume. It's appropriate to do that because of the yoga clothing. They have different patterns that are more of a peace, love and peace and yoga for you who do yoga? Maybe you have such clothing. I cannot do yoga. Yoga after I've trained really hard because I'm mostly Never relaxed after yoga. I'm just getting more stressed out from from the fact that it's very, very slow. Yeah. That's just an extra thing while we're completing or Bonnie and here it is. So let's go ahead and finish up the last drawing for this section where the bodybuilding person on the heavy weights. I'll do that in the next lecture. I'll see you there. 31. Bodybuilding Pose: Hi there and welcome back. So we have this last figure to figure out who this character is. And we said that this character is very strong. So let's just go ahead and find these strong personality. And I'm deciding that this character is going to be maybe a pirate's. So let's draw a large nose like that. And let's have his mouth being over here. And he's going to have one eye with a patch and another one is over here. So I'm just going to draw really an eye that is trying really hard to lift this weight. And the teeth are grinding. So I'm going to have the patch to go over the head. Really, really funny kind of drawing. Why not? We can do any kind of drawing. When we have our characters down. I lift everything up this up with a null. So to add a little bit more strength to this character to be lifting up this heavy weight. Now, half of the arm, half of the hand here is going to be the fingers. So just split this in half and draw one to two lines to get the fingers. And somewhere in here is the weights. Same thing here. Just a refine and split this arm in two. We have the sum over here and just 12. There you go. You've got the fingers, refine them and shade the heavyweight almost bursting under him. And we can refine the weights as well. I'm just going to draw them roughly. If you want to draw very proper weights, you can do that. I'm just going to shade them and draw moral weights on it. Just to see, just to justify this body posture and this strength that he's building. And the expression on his face showing that this weight is really, really heavy. So what else does the pirate have? It has this costume in costume thing. And I'm going to draw some small legs on the pirate. They are strong, but they have very small legs. Why not? We said we can play with the proportions. And you have this trousers and you have this huge belt. It's a cloth belt that they have and they keep the weapons in this belt, right? So let's draw this pirates. How did I come up with the pirates? While I don't really know, I just hence the idea of having someone lift this weight, but someone that is almost half comfortable of lifting. This way, it's not as comfortable and they should be. So pirate was kind of like a good thing to try out. And let's have their skirts. So we have a costume of the pirate looking something like that, and a vest. Vest like that. And they have maybe another another kind of, I don't know, t-shirt or something. Yeah. So we have these clouding of the parent and that's basically enough to go ahead and continue the drawing and explore more details. When we're done with that. We have the large nose and the eye. Now I'm going to make the pupil really small. That makes the pirate looks rather scary. And also. Has this this look on him as something is really heavy and he is trying his best not to drop the weights because his boss is not going to like it. Yeah, he's not the boss. So I'm going to have even his other eyebrow. Conveying this idea of being really, really heavy weights. And yes, pirates is also a cartoony character. Can be, you can be able, you should be able to draw any kind of character that no matter of h, of the character. Yes, it can be stylized and drawn as cartoony character as this pirate. So we have the thumb of the pirate over here and the other fingers. Now that we have the lines, we can just refine that. We can find where the weight is, this part of the weights. And just to refine it, holding yet hard, this for pirates has to prove himself strong for his boss. Who knows what happens next? Maybe he drops the weight and right on his door. Yeah. Why not? And let's draw the weights. Now. This is basically not sports. Any moment. We have begun with doing sports for the characters, but we ended up with doing different characters on top of the sports poses, starting from a very, very simple character and continuing with more complex characters like animals and the last of all, pirates. And I'm still stylizing even his arms and the shirt here that is coming from underneath. Like a sailor's shirt, like that. And it has a vest. It can have ornaments, but I'm not gonna do that. I'm going to add though, this belt that the pirates have. It's kind of like very simplified by Red Belt. And I'm going to have the belt being really, really large and very, very tiny lower body. Now that we did that, or pirate looks having a really large upper body. And this is something that I've talked about in the other lectures. If you want to have something appear big, make something in comparison much smaller. In that way. We doing, we're doing the legs much smaller. But as you see, the proportions of the legs as they are, is in the same. They are proportionate, which means that the upper part of the leg is equal to the lower part of the leg. That proportions hasn't changed and that's why they look proportionate towards one another. That's something that is a default. So let's also shape this weights here as well. And here. And just contour everything. I'm just playing around here countering everything. While I'm trying to give you tips and ideas of how you can trick yourself into relaxing or within your process and start experimenting with design and drawing better and better. I really love to see students who post online and comments on the review section that they cannot believe that they can draw like that? Well, you have always been able to draw like that. It's just that have been telling you that you count. That's the difference. So I'm going to draw some crazy hair on these pirates. So we can see that the hair is over here. We can see that is up there, the hair and maybe some beer on shaven, kind of pirates. Having some beer. Now you can do whatever you want. You can shade even this a little bit more so it looks like it's a red thing. And you can add some ground to the pirate, maybe to the bunny as well. Some shading, well, look as the pulses are even more stable. They have perspective there on the ground. And basically, this is it. So this was the sports section for a cartoony characters. I hope you had fun and enjoyed yourself, and I hope you come up with a lot of ideas now that you have this facet in hand, other characters that you can do, and you can experiment with the same pulses and put other characters on top on your own and you see what you get. So hope to see you again. Goodbye for now. 32. Push And Pull - Part 1: Hello, there. I hope you've had a nice break since the last exercise. Had some wall can have time to think about it. So let's go back to another exercise. And this time we're going to talk about push and pull. And why is that important? It is very important. Weight exercise that will show you body kinematics that are quite different than the ones that we drew from so far. So I'm going to draw a door. So I encourage you to draw small doors, slight in perspective, and leave some space on each door to practice. To draw the figure of this character. Those characters does, we're going to draw. So I'm going to draw here, push and pull. And they're pretty much each other's opposites. So let's start by bringing in the poses here. So here we have unknown. And let's start with the pushing poses will not draw so much. The door knob here. And when you have a potion pole pulse, the body interacts with another kind of power that is working against it, or a body is trying to work against it. So we have the structure of the door being closed and the body that is trying to push the door opened. So we can have two poses of character pushing the door. And usually when you push the door, you tried to to account for as much force as possible. So the door will come open. So usually you use your whole body and we'll draw just a straight line for this pose to signify pushing the door. Another thing that you need to take into consideration here is how big is the head according to the hands. So if the head is two, big according to this pulse, while maybe the head will go up a little bit or down a little bit like that, just to accumulate this strength for pushing the door. But let's do a character because we are free to do a character now that can push the door with his hands. So we'll have the elbows being over here and the hand being over here. Just signify it with a line. And we'll have the character's body being small. And let's draw the feet. And feet are also trying to take this force and trying to push as much as possible. And usually we have a character with either both feet pushing heart, or using one-foot, just trying to add an extra force here and contrast that kinematic force of the door. So let's assume we have the body over here just with a sphere and we'll have a leg pushing. It's not even touching the door is just trying to do accumulate this force that comes from this line over here. What's another way of pushing a door open? Well, maybe the character is standing and trying with the whole body, having the whole body push the door and applying this force with his legs. So let's do this curve here that signifies the force that the character is applying. And we have the character shoulders here. And the character is even bringing his head down as part of this, pushing the nice line to push with as much as possible with his spine or her spine and usually the legs or maybe stretched out helping the body push this door open, this force and contrast this force with two legs. Like that. It can, we can have one leg bent to also accumulate this power of pushing the door. Now, what are the other poses? Now, let's do the contrast of this pulse. Let's have a character actually pulling the door. What do you need to do? Well, when the character is pulling the door, then the opposite reaction of this curve is valid. So the character uses his arm and uses the spine to pull the door opened. So you use the spine as much as possible. Pose, push the backside as much as possible. So I'll just draw a curve just to see how the motion is. Again, draw as many curves as you need to feel the movement because you have done this movement before you have your cell tried to pull door. And maybe you have the character is having the knees bend like that here and trying to pull it with the other knee over here. Or the character is really pulling the door with the whole body next image. So let's accumulate this trend here and let's make the arms as long as we need for the character to actually pull the door and the hands are going to be straight here. And maybe the character is going to push the door with his or her feet. And you are really nice arc here. Even push the head farther out. So basically, the arms are accumulating the strength of this character pulling the door. Let's find this positions a little later who these characters are. And before we do that, let's go ahead and have similar exercise here, pushing and pulling. But this time we don't have a door. We have other objects to kind of integrate the same poses of those push and pull, but on different elements. I'll do that in the next lecture. 33. Push And Pull - Part 2: Hello there and welcome back. Now, let's use this poses of push and pull. But this time, let's push our large stone. Maybe you have this large stone. And the character is trying to push it forward. What do we have? Let's do a character with large head. And the character is going to account for the waiter he's had basically the design needs to be accounted for how large the head is. And can the arms or the arms large enough to come over the head and push this down. Let's design a character that can do that. So we have a character actually pushing, having his arms higher up, pretty much similar to dispose. And accounting for the body. I'm pushing forward the same pulse over here. Like the legs pushing really forward and with the other leg actually going forward and moving. So you push with one leg and you hold the balance the body with the other, as well as you are moving forward. If the ball is moving forward, then the next step you take is going to be this leg moving backwards, picking up the weight of the stone. The stone is not moving in the opposite direction because this don't use this pressure that goes in the opposite direction of this guy. And this kind of post you can have also, if you push any kind of heavy object, also, the body will look rather forward. If e.g. going against the wind, where you have heavy winds, push the body in this direction and the body is trying to control that in this direction. And the stronger the wind, the more lean the body is going to be. But now we apply a physical object pulling, pushing the body in that direction. This is another pulse where the, where the body is actually pulling a rope. Because the rope is also a movable object. It is not an object like a knob that is standing still. So in this situation, one hand needs to hold the rope at all times, so don't drop it. So the body needs to balance out in a different position. So you have the body maybe. I'm being at a site here. We have the hips over here and we have one leg straight forward to pull that strength. And this other arm is also closer together, but it's always one arm that is holding the rope on its spot. And with the other arm helping to contract this force that is actually dragging in the other direction. And the body is trying to control that in this direction. And this is the leg that is actually moving forward. So with one leg as contouring this trend here and the other leg is actually trying to move in this direction. So we always have a force that is applied at all times in this direction and we have the head over here. So these are basically the main poses for push and pull. Now, let's account for this poses and draw characters on top of dots. I'll do that in the next lecture. See you there. 34. Push A Dorr - Pose 1: Hi there. Now that we have our poses done, we're going to do the fun part and have our character, character designs on top of that. And we can have a very easy character designs just to learn how these forces apply. So I'm going to do this little guy here that is pushing the door and we have even the other hand here. And we have this character. This character is looking down to be able to even use the whole spine as much as possible so the spine doesn't hold the head, but applies this force here. And we have a facial expression with eyes closed in character that is pushing this door and we have really force applying into his face to convey the idea that this character is really pushing and the eye is closed like that, then we can have any kind of features for our character. Let's have a little a guy here. The body is on top of this line and we have the spine going here. And let's design the pants this way. And we have the hips going one heap here and the other is in the opposite direction. So we can have the pants, the other leg coming out from here. And we have the guy's foot. Just very, very simple. Keep it simple if you are studying disposal so you understand them really well. Because these poses will help you when you draw your own characters and you can go back and do this exercise as much as you want. And you see that the curve that we are doing is kind of like signifying the middle of this leg, where the knee is. And now you should be able to instinctively feel where the leg is. So we'll have this character, Let's give him some hair. Maybe. Even just a girl character pushing hard this door and having the hair over here, like dots. And thus what all we need to get this character in, let's refine our character and have the hand being here. Pushing hard the door and finding one of these many blue lines that you like and render it or refine it as the line of your character. And facial features are turned down. The face is looking downwards and we have this girl's hair on the back of her neck. And she's going to have pants. Jeans maybe. So let's refine the costume or the clothing that she has here. If she was a movie characters, thus will be her costume genes. But now she is just a normal girl character. And let's do the leg pushing forward, trying very hard to break in what's gone to hide in there. Well, that's maybe candy or she's being left out from someone and she's trying to break in. Here comes the storytelling part of the character. So let's shade her hair with a darker color. Of course I forgot her face because it's already given. Xi is just pushing that or that we had that with the blue lines and very, very simple character. So everyone should be able to achieve it. If you don't achieve it from the first time, just enjoy the process of finding the weight for this character. You will be able to do that later. To achieve that. Don't worry too much about the execution right now. Just study, study where this is going and how is this character doing? The pushing. So shade this leg a little bit. So we see that the character is pushing this, this side. And now let's just mark where the door is. So the image is kind of consequence. And we'll do kind of shading to mark the grounds or makes it even more clear that this leg is in the air, accounting for these forces are pushing. And that's basically or first character. So now let's go ahead and do the next one. Another pulse of pushing. I'll see you in the next lecture. 35. Push A Dorr - Pose 2: So welcome back. And let's design the pushing of this character. And now we have the hips over here, and we'll have again, a small body and just more childish and larger heads that we had. So let's just account for dot will have the shoulders really pushing as much as possible. So the shoulders, we'll shrug a little bit. Now, let's design the hand here, just half of a sphere. And let's have this leg account for this force here of pushing. And also the head is really going downwards. So you can, the character is giving all the force it can with his or her back. We have undecided what to do here. Let's do a guy pushing that. And let's have this facial expression again to account for the force and I squint, that will give even more power to the movement. Let's have the ear over here and maybe some chunk of hair like that and the hair continue over here. So we'll have our cartoony character pushing in this way and maybe chunk of hair is falling on his face while he is pushing. So just schematically designed the whole thing while you're thinking process is going on and the character will have maybe Simple shoes, just a half a sphere, or the way that you are now used to draw your characters. You're already feeling maybe comfortable with the style that you can apply. Even hear. The guy is trying to basically help the process with the other leg as well as maybe changing legs. Because the more you push in this way at some point the body will start to move down in because you don't really have a support and the body is moving down. So if the character is both supporting himself with this leg, so he doesn't start sliding down, as well as giving a chance to the body to later on push even with dart leg. So let's design the hair even more and see where it tastes. And maybe just have the face come down like that. And that's all we need for this character. Now, let's go up way the black pencil and refine the features of those characters and this character right now, it's good if you have sharper pencil in this exercise. If you are doing the exercise, the way I do it, because the characters are starting to be really, really small here. Yes. So we'll need to be careful with as many lines we do because we want our characters to look goat basically. So I'm just going to around the hat a little bit in this direction. And again, don't worry, if you make the so-called mistake. It is just a normal process of learning. It's like if I'm telling you that you're going to feel these motions naturally, the more you draw. I know you might not believe me, but how you learned to walk or stand up or things like that, it's, it takes time and effort. And also the result when you get it is very, very rewarding. So the head is pushed down because he has very large head, head for this body. And we'll just make some fingers here, but the pulse is already there. And you can see the force applied to this character. And you can have now an understanding why these things are like that. And you have seen already this poses. You have experienced yourself these pulses so you know, instinctively how they feel in your body. And this is a very important thing to know as a character designer. So I'm going to leave the pulse like that. This force is done. I'm going to draw the door. So it's more obvious here where the ground is an consequence with the other drawing. And we have even the force applied even more. Let's continue explore, exploring the other drawing and what the character is pulling the door. I'm going to do that in the next lecture. I'll see you there. 36. Pull A Dorr - Pose 1: Hi and welcome back. Now we have this pose here when the character is actually doing exactly the opposite as the lecture before, we have the spine really arched. So let's design the body here. Almost the same proportions as the other characters. And the arms are really stretched. No band arms here because this force is trying to pull the door as much as possible. So the shoulders can be pushed forward as much as possible. And the body can be arched as much as possible. And we have the middle of the arm over here. So this stays, this distance is equal to this one. So far we have the, the head coming down here trying to really pull the door with the arched back and having this foot really fall. And we'll have the foot basically pulling from the Hill up and the other leg is just supporting this foot with the hills with the toss. I mean. So you really have this force applied to the door. If the door didn't exist, I mean, this false wouldn't work because this character would have fallen down. This is only, this is a false, only when you have external forces applied to it. So let's also design a really simple character here just to help you understand the pulse. And we'll have hair, maybe another girl character will have the ears here, maybe a pony tail. The head is really going down to press this, this strength here. So round pony tails for the character. The face is looking down. Here. We don't maybe even see it. We're going to just suggest the eyes here. And that's all we need to start refining this pose. So let's just draw a similar arm. And let's have the hands be just holding this knob. A really, really tight. Here is the other hand as well. So we can, we can just simplify the hands and do this forceful movement of this little girl trying to open the door. And she can have maybe a skirt here. We can apply all kinds of clouds. And the clouds will be following the structure of this body. So we see that the skirt or dress is covering part of her ties. And we see, we know that this part of the leg is equal to this one. That we, we know because of the curvature we design here. And now we naturally feel where the knee is after all these exercises. And we'll draw even the other the other leg similar to this one. So she's going to have a smaller leg over here on the back to be similar to this one. And let's shade the leg that is behind to create more depth in our drawing. And let's just draw the nose. The eyebrows really squinted. And we have the mouth here. Really, really pressing forward. Let's draw the ear and the girl's hair and ponytail just to signify where the head is. These designs, these designs are intentionally very simple so that you don't go into too many details with these designs, but rather explore the pulse and still get nice results. So just to make the hair look even more forward, let's have a chunk of hair falling down on her face from her face here and having a little nicer silhouette and shade the head, the hair with other color. And to make sure that this is a hair, this is another texture of the body because we don't see a lot of her face. Maybe just draw the teeth that we're not going to be able to see a lot of them because the head is really hidden behind, behind her arm. And we see how much she is having here. This in the other direction to try to open a door. And if you are designing this illustration, maybe you will have the door slightly open. So you see that this force is actually may be working in the force is so strong, so you kind of enhance the force. She is she is having on that door that it's successful in a way that door is pulling out, it's giving away. And let's shade even these character. And let's go ahead and design. The last pose were the pull of the door is really by using the whole spine. I'll see you in the next lecture. 37. Pull A Dorr - Pose 2: Hello there and welcome back. And let's draw even dispose of the character pulling the door. And now you know the process we are having the body really arched here. So you just draw the body on top of this line and we know whether the arms are. So the elbow is over here. The arms are really straightforward, trying to pull as much as possible from this door. And in cartoony characters, you are even allowed to stretch the arms a little bit that are maybe not part of the design, but just for the purpose to convey the idea of really applying force while pulling. It is allowed to extend the arms or the, the elements that are applying this force. And maybe this character is even pushing with his feet. We have the character's head kind of completing this arc and looking even upwards or not. Maybe not even looking just trying to pull. The eyes are going to be here. Let's do an eyebrow. Dots, signify maybe pain or effort. And let's have the teeth and the facial expression of the mouth also have the same expression of applying effort. We'll have dust half a mouth like that. This is a very common cartoony expression and you'll have the teeth grinding. And this small expression is actually helping us achieve this feeling of applying effort. And we're going to have to see the neck in this position. So this character needs to have some neck. And let's apply another boy character and having chunks of hair falling down. Because also the head is tilted and we can see the neck and the body. And that's all we need. We'll have the other leg over here. So that's all we need to start and refining our characters, even though we have a messy drawing now with all the blue lines, it's much easier when we have such a messy drawing to choose a line that feels comfortable to us. And that's why it's good to have this uncompleted drawings. So you can try out which line is actually working out for this character. And eventually you will feel the lines that are doing the best job. Because when you see other people's character design and look good to you. And also what you see other people's character designs that don't look good to you. You get, you have this feeling in yourself That's saying that why this character looks good to me and why this character doesn't look good to me. And the same feeling, well apply to your own characters, even though in the beginning, you will be slightly blinded of what's working and what's not working. It's going to come naturally later on. So let's do the sleeves. And this arm is really just very, very much longer than it should be. But this is something that is allowed in cartoon characters when they apply this force just to enhance the emotion even more. And I'm going to push the body even higher up here, just orchard and almost linear down. It's almost falling. And you see that if the character is pulling the door in this way and the door opens, the character will definitely fall. Because the force is so strong that it will shoot him forward and he will definitely for himself, but he will achieve his goal of opening that door. And now we have the character a little bit in perspective. Let's draw the other leg. And the other leg is also pushed closer to this leg to apply to apply as much force as possible and not lose the momentum of that force by struggling, by pulling the door and I'm going to arch the door. So we see that this character is also going to be successful, maybe in pulling the door with all the force applied to it and it's going he's going to fall. That's for sure. And I'm going to add some shading in here so to see that this part is a door and this one is an empty space behind that door. And I'm going to shade again the guy's hair just to give the character more clarity of what is what. And later on when you get your characters than you can put them in a digital program and clean them up. They will look even better than, but you have then all the poses that you want for a character that's pushing, falling a door. And now I'm going to shorten that door because we need to have the character standing, standing here on the ground. And this is basically a clear both of character pulling that door. Now, let's use the same principles with these two characters. Pulling and pushing. Different element that is not static like the door is. So I'll do that in the next lecture. I'll see you there. 38. Pushing A Stone: So I hope you had a nice break. And now let's go ahead and do this character that is pushing the heavy stone. Let's play around a little bit with his proportions. And now we see that this hip is moving forward and this is going backward. So if we see the hips on both sides, it will look something like that. Here will be one hip and here it will be the other. So they are not on the same spot. Because when the body moves with one leg and one in front, the whole hips are helping this process. And the arms are almost on the same position because they are locked on this weight over here. So let's have the head being pulled down a really forward and then we'll have the eyeline being maybe over here. The head is trying to help this pushing. And we'll have the pose where the character has This, his teeth grinding, applying force, and the eye is squinted, the eyebrows is low. And now let's draw the arms. Let's have D. D, arms are really pushing that stone. And I'm just going to draw lines on top of, on each side of this middle line here. And even again, as it gets messy, Don't worry about it because that's what learnings process is all about. And now let's design this guy's hair. We're going to keep the same character as we did before. Just to make it easier for you to design. Because now the design is really difficult as the arms are in front of the character and makes it difficult to guess this character's design and difficult to draw. So let's keep on with what we had. The guys, the little guys here that is on the other images, make it easier for you to complete this exercise. And later on, when you have your character design, you will know how to apply this feature. So now this character, this leg that is in front of us is actually bend. And it doesn't really matter which leg is bent because they are going to they're going to change each other. They're going to be one leg after the other. They're going to take their turns in pushing. So one leg is keeping the balance and the other one is pushing to enforce the stone of foreign moving. And this is now pretty much what we need to have to complete this character. That little is necessary. Let's go on with the black pencil. And I could have left the designs pretty much like that, like really sketchy. But the pleasure of designing a character on top of the sketch is going to motivate you to do even more. That's why I want you to do it together with me. Because you're going to get more and more used to doing it. So I just want to get this opportunity to give you all the assets that you need to succeed. And now I'm starting to move my arm. I always move my drawing around to get more demo comfortable position. But here it is important. Just stay in camera. Otherwise. That's going to be difficult to have an exercise that's off-camera. Yeah. I hope even though the lectures are many lectures that you're taking it in your own time to accomplish these exercises because these are important poses and exercises and you will have use of them later on. Now this is really, really long. And that's why I wanted to account for this force and have this cartoony drawing. Really push the stone. But if you have a character with shorter arms, you have to either leave the head higher up or lower down. You will have to account for whatever character design you are doing to put the elements for this character. I'm fit them in the motion. This is something that you can take into consideration with your own character designs. But for now on just Judy's exercise, you can do it maybe a couple of times. So you get the feeling of how this motion is and try to push a door, tried to perform this movement. Again. Photograph yourself. I'm going to have this character's hair. I'm being a little bit different than the other ones. So we have maybe a chunk of small hair coming out here just to have more fun with different design features and to not be bored, bored out with the same character, it is important to stay motivated. So I'm just going to draw the eyebrow and the mouth being really, really in the expression or grinding teeth. Squeezing this ellipse. Or all what I can do to convey the idea of pushing. Because that's what you do. You convey the idea of weight. You convey the idea of motion with your character designs. And whether you are looking forward to become an illustrator and animator, or just doing that for fun for your own children. It is you will know that you will change someone's world with these characters. And whether it is just one person, may be some your children, or whether it is a whole nation. If you become character designer or an illustrator, these characters that you design, they will stay after you and they will inspire someone. So while you are sitting here and having fun with me, think of that, that this is also something that will stay and live after, after you. And that can motivate you to have more fun with these characters and know that these characters will inspire a little kit that will also want to become an illustrator. We are connected to one another and we inspire each other with our art, with our work. Some inspire us with our food. Everyone has something. And if you have, if you are here now in my lecture, that means that you are given this desire to draw. Otherwise you wouldn't have the patience to do it. So this is it for this pose and added some shading just to make the character more believable, but it was all there. The construction just gave us the character and this forces here. And let's continue with this last pose before we finish up this chapter. I will do that in the next lecture. Go get some refreshments and I'll see you there. 39. Pulling A Rope: Hello and welcome back. Now, let's go ahead and design our last character here that is pulling a rope. So let's draw the hands that are falling the row. And one hand is in front of the other. And the character is a little bit bend on the site because it is really pulling with one leg. The rope is an organic thing. It is not something that is standing fast, so it really needs to use all that he or she can to pull the rope so it lifts the shoulder higher up events so we can take that into consideration. Uses the body. We can put the body even higher up to connect with the shoulder. Let's draw the rope just straight line because the forces that apply here, there are really countering each other in one straight line. So to apply forces, you don't have to have the elbow bend and the legs should be straight because that's applied even more force on your character pose. So I'm going to draw the face of this character coming maybe over here. And accounting for where, where this neck is, maybe approximately here. And just having the nose maybe being over here and shrugging the face and just to having this heavy weight and the overall pose. And let's do the face with Chief grinding. And again, let's dump be maybe the girl character. So let's design some chunks of hair and let's have pony tails. Just in disarray, also falling down on her face. Just extending the hair of this girl a little bit outside her face and having the chunks of hair falling down here and another one here. And this chunk of hair, her ponytail, also conveys the idea that she's really leaning, leaning backwards, and the ponytail is just falling. Just dragged by the gravity. And let's have the foot of this girl. Maybe have this triangular shape that we used for the other characters have this shoe. We have our sphere here, and let's have this also. The knee here and the triangular shape of this character. And let's have her thumb here pulling and separate the little sphere in tree to find where the fingers are. So just draw these fingers here, split it in three, and just have the thumb over here. And I have the rope. And let's have this girl's dress or whatever. She's having. Cloths, polling. And we have the sleeves. We have maybe a little skirt falling down. And we have the skirt forming on top of her upper leg and forming here, but the part of her skirt as also has weight, it's falling down here. And so that's what we need to start drawing our character with the black pencil. Now, drew a large nose because you see that our character wasn't shaped when we started. And I just put features on the character as I went along. And I hope that you can do that and you can apply other features on your character will give you a lot of scope to fill up the character with your own. Characters and personalities. Maybe a cat, maybe some other kind of character. If you've taken my other course. Cartoony characters, designing cartoon characters and cartoony humans. There are a bunch of examples there of how to draw completely different characters with different personalities. And now that you have this figure drawing for characters, you'll have the possibility to really design your characters and also give them movements and give them proper movement. So let's design this girl's shoulders pulling from here and she's holding the rope. Let's maybe draw a rope over here coming in. This game that we play with pulling the rope. Well, it's something like that now you can even draw it and have a bunch of characters one behind another pulling that rope. So we have the hand over here and we have the tongue of the girl. Actually over here. I had put it on the other way, but that's the thing that sometimes you have to actually do that yourself to see where are the fingers, how does it look like from this side? So we have the fingers being over here. All three fingers or four fingers. And we have the rope. Maybe we have a term here. So we have the rope pulled her hand. So it's much easier if you actually Google, do reference and see how they're really holding the rope. Because you basically, sometimes it's the best way to do it. Most of the times when as a character designer, we use always references because you not only, I'm always remembering how things are not cheating to use references, you still have to apply the same motion to your own character design. So this human movements, you'll have to have really a library of mental images which you're doing right now. You're, you're actually creating mental images for you to use whenever you are designing. But also, you need to have a library of images that will help you as a reference for your character. So don't be afraid to have reference. That's, that's not cheating. Anything that can help you design and good character is upheld, is allowed. That's still is going to be your own art, your own take on it. Now I'm going to shade the skirt because we can differentiate this skirt elements towards her dress and to see even how the wrinkles fall and how the other elements of her face and body are. I'm going to shade the hair as well. Just to have a nicer look. There's a simple, simple characters. I didn't draw any other character, so it's easy for you to explore because it is enough complexity. The whole movement is very complex. We started with very simple characters, drawing a straight bows. We start and then it continued with sitting, sitting characters. And things got more and more complex the more the father you went into the course. And I hope it's helpful for you and you learn a lot. So I would like to hear what you think. Just leave a review and comment on the comments section. And let me know what you think. And this helps me also design my other characters and C. And this helped me also designed my other courses and hear what has been helpful or what should I add and so on. And I'm shading this leg again just to add some depth. Maybe I'll do some kind of a cute freckles to this girl. Because here we have a larger character and not as little as those poses. And I can't zoom in, which believe me, I do want to. But it is very useful to draw on paper. There is completely they're feeling to it. So here we have our push and pull exercise. I hope you've learned a lot. It has been helpful. So go ahead and practice some more, and I'll see you in the next chapter. Bye for now. 40. Push Against the Wind: Hi there. So now that I have been talking about pushing your weight against the wind, I was thinking maybe I will give you one example where you have nothing else to push forward, but you're working against the wind and your body posture is different. So let's draw a simple character. We have the force of the wind coming from here. And the stronger the wind, the more the body is pushing forward. So we're going to make basically a very strong wind. Just signify this force, this pushing posts with one straight line where the spine is connected to the lower leg. And we have one line here for the leg and one line here for the toes pushing forward. And we have the character really bendy. He's had forward to generate more force with this arc. Draw a sphere on top of this line that is connecting the head with the neck and the spine. And now we have maybe also the poster of the character freezing. So if you want the character to keep the arms forward, That's not a natural pose for a character because we don't have anything he, he or she is pushing forward to just let the character gather his arms and hands together to have even more of this dynamic pose to Jane force with his buddies. So we'll have the arms bend, maybe holding or his or her jacket. Let's draw the hands on top of that just by drawing spheres. And that's basically the pulse or the, with the other leg, the character is trying to push forward. So if we assume that this is the hits, how did we find the hips while we just chose approximately where the hips are, you can draw the hips over here if you want to have a more disproportion of character. But this character, as long as the other character, apart from the head being too large, a kind of approximately very similar to human proportions, which means that this part of the leg is equal to the part which reaches the shoulders almost. Now the legs are too short for this character, but they're almost there. They're not way too disproportionate. So we have one heap here for the leg reaching backwards. And we have this, this motion where the hips come forward, one hip goes forward. So let's design a line in the leg that is moving backwards. This is the leg moving forward. So all this area, the hips will rotate. So signify that with a sphere. And we'll have the legs or maybe just a curve, draw a curve and we have the parameters of the ground being here and just have the other foot pushing on the ground, then the foot is trying to move the body forward while the other one is balancing, pushing against the wind. And that is basically the pulse. Let's move the other hip, maybe a little bit more bank. And that is basically the pulse. That is a character pushing against the wind. Now, let's draw the character and let's use again the simple character. So where will be the nose? The nose is here. We have the character again with this expression that it is difficult to walk. So we'll have the character squinting, will have the eyebrows gathered forward in the middle where the nose starts. And we'll have the grinding teeth that the characters is implying applying force to this movement. And maybe we'll have a head. The hair is hidden inside the head and maybe we'll have the head also following this motion of the wind. So the wind is blowing forward like that, and the head is following this movement. So let's have even the head. Illustrates. The direction and the strength of this wind that the character is fighting with. So just to make the character even tutor will have a chunk of hair. So just a triangular shape. Also blowing in the wind following this direction. That will give us even more elements to go ahead and illustrate why is this character in such, in such a power. So the thing here is, again, just split this fear in, in three by adding lines and then you can around the sphere just to have separate fingers. And I've made the hand, I've rounded up even this area just to give it more of a hand, look, this other sphere, we have the thumb being on the opposite side. So you have the thing over here. So split this sphere in three to make the fingers. And now you can around the fingers to create the other hand. It is that simple. So let's design the jacket here. Let's design the codes or the jacket. And you can just think of there is a thicker material when it is the jacket, so you have a lot of layers. One for the arms, you have muscles, you have flesh. And on top of that, you have another volume of maybe pullover doors close and then on top of that, you even have the code. And it is holding is called here. Maybe it has scarred, flying in the air. Another element that enhances the feeling of heavy wind. And now we have the, this leg coming forward so we know that this leg is forward, so we'll draw the leg. Here is the same thing. You have. You have the flesh, you have the bones. You have the trousers on top of that, maybe thick trousers. And let's draw maybe boats here, very simple. And here we have toes here. So just help us here for the toes and connect the toes with their leg. And we have the boats coming in here, so kind of like a similar size. And here you can already watch the proportions and you see that I'm drawing are really the boots being a rounded here because we have a volume of the flesh and the bolts. It's not it is not flat. So to signify when something is not flat, you can think of what kind of roundedness it there is on this body. And maybe just draw lines like that to see how is flesh and the volume going in this direction. So let's have the pants and the code. Maybe the coat is also flopping in the air. So just extend the code a little bit, just to signify that it is a material that is lighter and it is flopping in the air. And let's draw the code here. Stuck to the body. It doesn't fall because the wind is too heavy and is blowing in this direction. So maybe you can draw a wind like that. Now, we are ready to finish up this drawing with a black pencil. Let's draw the eyebrows, the squinted eyes, and just round up the face. Here. The chief that are grinding, it's really, really, really cold. And already when you see these elements, before even you drew the elements, actually you saw that the poles is struggling against an invisible force. Now that you get more and more elements that flopping, scarf and the hat and the hair chunk, you get more of the perception of what is going on. It just gets stronger and stronger of what this character is fighting against. And you don't want to be this character going, being out there and struggling against this wind. You can feel how strong the wind is. And here is just a matter of basically meditation because you have all the elements there. You just have to watch that everything is in proportions because here you have the possibility to fix things. If something is off, you can change it. But other than that, just cleaning up the drawing of the blue pencil and having fun, just relaxing. Your job is done. And you can really just draw now. So we'll have something, maybe a jacket that he's holding. We won't see very clear what he's holding, but just dispose of the hands signified that maybe it's called maybe just have a little bit of something coming up here and we will not see what he's holding. We'll understand that he's holding his jacket so he can protect himself from the code and trying to push to go home. I push against the wind. And we'll have the scarf, the scar blowing in the air. And just extend that. And just have these patterns of this curve that we did in the previous curve. Now that we've started with these patterns of scar, we can use it even in this design. So maybe you can, here you can add more patterns, whatever you want. It's just up to you to find other designs you have already. The proportions, the movement, which is correct. And it's very useful for you. If you are drawing above illustrating a book, a Christmas book of a character, having to go home and is struggling against the wind. Now you have the place holder of that motion that you can use. And you know the thinking process for that. And you have some other pulses there. With with the fox drawing, throwing snowballs. And so we'll have these legs always signify here are the patterns. Maybe we'll see them from the side. So just finish up your drawing on top of these drawings and you can make a model of the boat so you can just maybe have a heel here and have it a little darker the hill. And you don't need to draw all the half sphere that the toes are making. Some wrinkles on the ladder of the shoes or the material of the shoes. So you can add that there. You can shade this one. Here. Maybe you can make some patterns on, down on the head and at the chunk of hair here maybe you can make this one here. Maybe you can make also the patterns or material that is on this the bowl of the head. There also in this direction that the wind is blowing. And just add some shading on this leg. And maybe just draw the floor and maybe just shed where the ending. These features, I'm the leg and the characters really pushing. You draw these lines to show the direction of the wind like that, and that is basically done. So this is also a pulse, what a character is pushing against, a force that is invisible, but there is a force applied to it. So you know why the body is behaving in that way. So that's it for now. I'll see you in the next chapter. Bye for now. 41. 40 Bodylanguage Poses: Hello there and welcome back to another section of drawing figures for cartoon characters. Now, in this section, we're going to talk about body language. Body language is connected to our emotions. So what we're going to explore here is a couple of pulses that convey or our emotions. So let's start and investigate how our body behaves when we convey different emotions are when we feel different emotions. So let's start by drawing a set pulse. We're going to start by drawing the head, really big head again, and we're going to draw a set pulse. So what do we do when we're sad? We shrug, we draw down all the body. We're basically without energy. We have no energy and we let the spine carry or wait. So we curve the spine really a lot. And we balanced with the hips. The hips are here. And then we'll kind of like almost trying to drag or legs so that we can hold the violence. So sometimes we have even the legs curved against each other at the knees. And we see that wanted me draw the curve around. We assume that the knees are approximately here. We get this natural middle line of the knees. So where are the where are the shoulders now? Now we have the head, which is covering the shoulders because it's really down. If we assume that we are looking down, we have the arms hanging a lifeless. So we'll just have lines for the arm. And we'll have also the hand just hanging in there port by the arm, buttock muscles by the muscles of the arm, as well as dragged down by the gravity. So where is the next shoulder, if we assume that the spine goes in here and somewhere in here there is the neck. So the next arm is going to start on. The next shoulder is going to be around here if we assume that the body is transparent. So here is the other arm. Draw another line down. So we have the other arm drugged and we can approximately find the length of the other arm here. Just draw another sphere or maybe just more triangular shape around shape. And this is basically all we need to design a set pounds. You see that we have the weight of the whole body drag down. Now, let's draw a happy both. What do we have? We have the happy pose. Well, we opened from the core up. So we have the opposite on this pose and we have a body that is open for the world. It just stretches up. We have the head higher up. The energy is, energy is high. We are ready to share with the world anything because we're just happy. So we're going to draw the line of this action. And here are the arms. If we assume that these are the shoulders and because of the bodies a little bit in perspective, you see that I drew the shoulders here with a little bit different distance from the middle line. So this one is much shorter than the other one because of this perspective change we have here. And this is something that you have to think about when you draw your characters. Will draw the arms like that. We'll draw a sphere for each arm. This arm being bigger than this one because of the perspective. I'm drawing it a little bit in three-quarter. I'm having one leg here. So let's find the hips. The hips are over here. We'll have one leg. Balancing from here and one leg is over here, can even have the leg little closer together. That doesn't matter. We have a lot of energy that balanced or about your work. We have this poacher conveying that we are opened to the world and maybe the head is lifted up. So we have the null somewhere here. And that's basically it for the heavy pose. Now, let's have a post that is more conservative here. We'll have a post that is conveying suspicion. So usually when a character is suspicious of something or feeling threatened, what do they do? They can shrug everything, they shrink. Basically. They try to put all the features together. We usually hold or hands lift or shoulders in kind of liking protection. And maybe we hold or arms, cross your arms. And so we'll have, this is a difficult pulse, so we'll have the shoulder here and the shoulder on the other side. Again, this is three-quarters. Let's draw the spine. And the spine is bent in this direction and the hips are coming forward as if we are pushing the body inwards. So we are trying to protect, to protect, or heart or core or stomach. And we'll draw one arm coming from this shoulder and draw just a sphere to signify where it is, one coming from this shoulder. And we can have that this arm is coming underneath the other arm. So I'll just draw a line here to signify where the armies and draw the arm coming from underneath. And now we'll have another arm holding or armed with this one. And where are the hips? The hips are here, so we'll have the hole, this part and the legs are maybe also closer together because we are trying to really shrug would shrink and to not be visible in order to protect ourselves from the world. This is also looking like kind of like a freezing both. And that's what happens when we actually are scared or distrustful to the world. It's the same body poacher as if it's, as if it's, we're freezing. So we try to protect or core, or core being the stomach, the heart area. And when we are happy, we are exposing this life-force, the area which are a life force come from. And when we are suspicious or scared, we are trying to protect it. So what else can we do? Another pose is angry. So when we are angry, we are attacking the other person or we are trying to convey to exceed energy with the whole body, with the head, with all words, we are trying to attack with words. So you have the head coming as forward as possible. And we'll have the budget really gathered together. So we'll have the body in straight line, just delivering this energy from the chest to the mouth and attacking with words. So we're screaming and someone, then we'll have the shoulders over here in the body. If we see only the head here, we'll have the shoulders really pulling back and we'll have the arms on both sides. Just the hand, tight fist. And we'll have the legs just balancing out this energy just supporting the upper part of the body that is now trying to attack and the legs are gathered. Everything is basically just more of a line of force. It is in the same way when we push the door open or tried to push something here, we are trying to push an energy out with the head that is conveying this idea of angry. And now we see a pose of angry without even having a facial expression. That's what body language is all about, without having character, without having anything else. But just these few strokes of a poster that conveys the idea of an emotion. So what other emotion can we do? Let's do another pulse of angry. Someone that is already helpless. And when you are helpless, angry, you have nothing else to do. You have done all you can to fix the situation. And now what you do is you basically jump up and down. And the poster of angry is always that your fist or tie-ins in a note. So you basically have the pulse, more like a sports, both jumping up and down. So you have the shoulders, shrug up. Let's find where the shoulders are and find where the hips are approximately here. And we have 1 ft on the floor. Just in a jumping pulse, you are not jumping in a regular moves. You jump really quickly. It's energetic. More of you tried to stay up in the air and just released this angry energy as fast as possible because it's gathered, It's Jane within you. So you have the shoulders, really up, shrugged shoulders, and here you have the upper arm. The lower arm, they're equal to each other. This is, you already know, we have the other arm, so you have this arms also tied in closer to the body, trying to protect your body from this energy because it is painful to be angry. And the whole body tenses in this energy. And we have this phase. The phase is also turned downwards. So your body is trying to protect this area and to release this energy with the movement with fast pacing jumps. And you'll see that here. We'll have the head coming down. And we just these few strokes you have posture, really a body language that you understand what it is all about. Now, let's have the poacher of lazy and the boater of lazy is also similar to the poacher of sad. But instead of having the head going down, instead of going down, the departure of lazy is mostly the head going up as if you're really bored. So you're not trying to protect your area, but you're just trying to show are you don't have any energy for just this thing or for whatever it is you have to do. You have to clean your room or something. So you just show how much energy less you are about this thing. And you try to basically go down to resting position as much as possible to sink down. So we have the hips over here. The shoulders are forward, the neck is holding the head. The head is tilted up with the nose is over here, and the spine is really arched. The hands are loose, the same pose as this one. The hands are hanging dragged by the gravity. And also the hand. This hand is on the other side. You have the hips coming forward, bending the back. The back is not holding your straight. You basically try to keep your balance part by whatever muscles you have. And as well as borrows sac, sac down and show that I'm really bored now. And this hand could be behind the torso. You see the difference from this pose to this pose is that this is just the head. The heaviness of the mood is dragging you down. And this is just you don't want to have your head in the sky. You're really bored from some situations. So these are just very simple sketches just with lines and spheres that describe emotions. So let's go ahead and find the characters behind these emotions. I'm going to do that in the next lecture. I'll see you there. 42. Sad Pose: Hello there and welcome back. Now, let's go ahead and draw this poses and find out who those characters are. Let's this time draw a different character just to have some variation for you. So you don't get bored like this guy. So let's draw a bunny. Bunny is something very, very cute. You just want to make something to make this bunny happy. That's why we are going to draw a sad little cute bunny. So we're going to draw the eyes of the bunny on both sides. And now look that I'm making the eyes more like an ellipsis. Why? Because the bunny is looking downwards and the eyes are the spheres of the eyes change every time we come closer to this end of the sphere. If they are in the middle, there won't be around. But if they are anywhere around the sphere, they get smaller and smaller and they look like ellipses rather than spheres. And I'm talking about that if you are interested to know more about that in my lecture, The Ultimate Guide to draw cartoony characters. If you just accuracy, want to draw more. Otherwise, just follow me here and I've summarized it really quickly. So I'm, I'm also adding a sad expression on this bunny. When we're sad, we narrow or eyebrows and lift up the front corner of our eyebrows and we usually look down. So I'm going to have this funny looking down and maybe just drag down the eyelids. Eyelids, basically everything as energy less, we don't have an energy to pull up or eyelids. We have no energy for anything. And I'm going to draw some chicks here of the bunny. We don't see the bunnies mouth. And I know that when you draw a character, you want to see all the face, the facial features. And you feel like where am I putting the mouth now? But just get comfortable with any position of your character. And this is one of it. So we said that the shoulders is here. The body is really arched, so we need to connect this part of the shoulder with the body. So we'll have the body being over here. And even if you don't see the body on this side, when you draw with the blue pencil, you can sketch it out. Even the body behind. So you know what you are leaving out the thick of the picture. And you know how to continue this part of the body. And how much thickness do you add? Because if you have a shoulder that are broad, you need some more thickness to this character. And let's draw some arms. And the arms are just lines on both sides of this line here. So the same way that we did other lectures, and if it is unclear, it has been unclear until now. That's why I'm saying it. Again. You can draw arms on both sides or on this side. This is mostly about design. Now we have the posture there. So let's draw some pants. Maybe we'll have the pens or the bunny over here. So let's have his pants coming here on the body. And because the body is tense, is leaning forward, the curve that describes the bands will curve in this direction and not in the other direction. The stomach is somewhere over here and the pulse are going to be slightly larger. So I'm just going to extend that. And here we have the fingers. So just draw this part. So you have one sphere here at one half sphere here. And want to do, you just do two lines to describe pause or fingers and just extend that hand on the other side as well. So we'll have a hand, a loosely falling, but this time on this side, we will need to see that as well. So we'll have a hand falling down. You can also feel yourself. How is your hand looking like when you are sulking and when everything is loose? Maybe just take that pause and try it out. Really. We have the bunnies legs. Just bend around the knee and do some lines. I'm maybe have the legs being a little smaller than I initially started drawing this leg curve on at the nice side and having the bunnies feeds or pulse here. And again, we'll draw the pulse just by adding some lines where we want the direction of the leg to be. So maybe I want this leg to be slightly twisted towards the other leg. So that's why I'm adding some lines in this direction. And it gives us the illusion that the legs are twisted towards each other. Because that's what we do. We create illusion of reality. And here are the bunnies ears. So let's even make some ears that are floppy, floppy ears and they're hanging on top of his head. We have the floppy ears just hanging on both sides. And we assume that the other ear is all the way round the head. If the head is transparent, we are going to see the ear beginning approximately here on the other side of the bunny. Because we can eyeball the distance from perhaps this eyebrow to the ear. And we can imagine the same distance from the end of this point of the eyebrow to the other side. And count for this distance by making these lines. And imagine that this is the other side of the head. So just draw a line for the other ear and around that line. So it looks like floppy ear and they're coming down and dragged down by the weight of the gravity, the weight of the head and everything looks just sad, sad little bunny. So we're ready to go ahead and refine, or budget or bunny. Let's start from the ears. So just have the ears really dragging down. And now you see we have again a lot of lines, a lot of blue lines. And by now you see that they actually look pretty good. Where the blue lines look like some kind of a shading for our characters. Now, let's draw the eye, the sad little bunny. So one thing in illustration, when you try to convey an idea and emotional idea. And if you try to convey an idea of sadness, something that people will feel sorry about. Try to work with the contrast. So, who are you going to fail? Most, sorry about said pirate or a sad little bunny. Now, because the pirates we associate with being mean and how strong something. So the contrast of having a bunny, a cute little bunny that has no will to live, that feels even more sad to us. So just drawing a character that usually we associate with happiness and fluffiness. And giving it this facial expression just makes it makes the viewers feel more of the sadness and want to basically make this bunny happy. So here is the nose. I'm going to leave just a white dots as if there is a glance bouncing on the nose of the bunnies. So we see that it is a different texture. And now I'm going to make the cheeks of this bunny. We're not seeing the Bunnies Bunnies mouth and we will enhance the eyelids so we can see them even more. Let's draw just contour lines that you already have that you've already created. And we don't know how this looks from the front because we didn't design this. The Spanish will readjust discovering those characters because we are doing the poses that they convey. And just for the sake of giving you a break from this other very simple characters. And just letting you know that as long as you have your poses, you can design any kind of character on top of that. And you see that we had pretty much the same approach to this poses with the lines where the spine, same body, but they have different characters attached to them. Now, this arm is more dragged down. So I'll need to accommodate for some more flesh on this bunny on this arm. Because maybe this arm is a little bit longer. Maybe the bunny is dragging this arm slightly more and just around the fingers now and here we can have even a small thumb. And now let's do the pants of this bunny. Draw the other ear hanging. And maybe we'll have some chunk of hair here for the bunny. So it's not just fluff and ears, it has some hair gout. It makes it look more human. And let's design the pants. And we wonder why is the bunny so sad? It didn't get his carrots. It's a real disaster if you don't have your carrots served. So just counter all the lines. And this is again, just playful time where you can enjoy seeing new character coming to life and listening to music, thinking about something else. And listening to podcasts. I listen to podcasts while I, while I drove to inspire me and you get into the zone basically. So I'm going to do maybe some texture on these bunnies, trousers. I'm going to do some pants and some belt. So just to give it more character, now that we have the whole pulse, you would like to have your bunny looking better and better. And I'm going to shade it with another shade. You see that? I just lean my hand and I don't really push the pencil. I like the pencil. Just draw smooth. And that's how you get a tone instead of, uh, instead of a line. And I'm going to shade even this year. Why? Because it gives you more depth. It pushes the ear farther out and it looks like this year is behind the head instead of in front of it. And the same with this are just shaded so it gives you more depth. And I'm just going to shade the ground to make them bunny stand stable. And I'm going to do some whiskers. And they are also conveying an idea of binding being said because they are also dragged downward, that drawn downwards in the directions. So every single element that you have should convey the idea of sadness for this bunny. This character is done. Now, let's go and draw some happy feelings with this pose. I'm going to do that in the next lecture. I'll see you there. 43. Happy Pose: Hi there and welcome back. Now let's go ahead and draw, even though this happy pose. And now let's have the nodes being the nose of a little fox. So we'll have this line being the middle of the body, of the head. And in this line is the line where the eyes lie on both sides. And here in the middle we can draw a sphere that will help us draw the nose and that sphere, you just connect this point of the face from this line with this point and just draw a triangular shape upwards to find where the nose is in this pose because it can be challenging. And now that the nose is in this perspective, the lower part of the nodes will be marked in this way downwards because we are looking at the perspective from this way up. This is the nose of the folks. Let's have some mouth of the fox, where the nose is ending of the sphere that we already drew. And let's have the mouth being here. And the fox is also squinting, closing its size in happiness. And this time we are also arching eyebrows upwards. Enjoy. What do they say? Pain and pleasure are very similar. And that's very true if you look at the facial expression. So we'll have one year here. The ear is almost on top of the fox's head. So just draw a slight triangle and we're not going to see the other ear. We're going to continue the head of the fox. What else do we see in this position? We are going to see a little bit of the neck of the fox. So it's kind of a little sphere pointed in this direction, the same as the pointing nose. And here we have the curve of the ear of the fox. Now, let's dress up Folks. Let's have the body, the flesh of the body on top of this shape that we drew. And again, the body here, it has also a volume, it has flesh on that top, it has stomach. Then we have the butts on the backside. And this is something we can again signify and mark with just a sphere or half a sphere. And now you connect this part with half of the sphere and this part with half of the sphere here. To find this volume and use this half of the sphere to design the clouds. And now let's design again, maybe these folks being happy with the snow. Maybe it is the same folks that we drew in the previous lecture that was drawing balls. And now it's happy with the snow. And now we have the arm's starting from here. And you can use this arm because now your eye is leading you towards this proportions here. You know, automatically that you cannot start the arm from the middle line here and have an arm over here that will be too high up. You have the body finishing here and you have the pulse. And now you see that we will have the arm. And here is a good thing to do to have the fox enjoying life even more, open up to life, even more and spreading her, her fingers. So we'll add tos like that just with lines to signify where the fingers are and the other arm, you see it's a slightly thinner because it's on the other side. And in this direction we have the arm and we have the hand, the toe of a here. We have the thumb over here, and we have 123 fingers, fingers spread out. In joy. This fox is really enjoying life, and let's design the boats. And this drawing is much bigger so we can draw the large boats. And because the body is in this direction, the legs will appear longer. Why? Because they are closer to us. Even proportions of The legs and the face and the other elements have this rule of perspective change the things that appear closer to us. They expand a little bit in size. So when we draw them, we need to account for this optical illusion of our eyes. That's how we actually see in depth. The things in depth change, like when you are in the railway station and you see the railways disappear in the distance. They're not really disappearing is just that your perception is looking at them as if they become smaller and smaller. And this applies also to every single element that we draw and is in a relation with some other element. At this time. It is basically the, the boots, the legs, and the phase. So here we've got the cheeks, and that's all we need to have for this pose of the fox. And we can even draw some snowflakes here just to account for the happy folks. And we got inspired by the folks that we drew throwing snowballs. So we got this character with inspiration from oral lost, our previous lecture. Now that's all we need to have to do, the happy fox. Now, let's draw the lines and leave out some lines. This is always a matter of perception. But you'll see now that this exercise and has given you the possibility to choose your lines. Where do you want to put them to see really, when the things gets right and when the things gets a little bit of proportions. So you can account for that and do the next drawing a little better. And now we have the fox, the happy little fox, the eyebrows, thick eyebrows. That's why it's nice to have eyebrows on, even on animal characters because they complete the expression for this emotion, for this character. And we're going to have just a little bit of eyebrow here. We don't see the other eyebrow will have some dose for the whiskers. And let's also start and design the code. And we'll have maybe the scarf here. So instead of drawing a neck, I'm just going to do another shape that is similar to the neck and make it a scarf. And let's have the scarf having this pattern, okay, The Fox had dropped the hat. So it doesn't have a hat anymore. But That's alright. Happy people. They throw their hats in the air and just love, right? So that's what the fox has done as well. So we'll have the code starting from here. We'll have the lower part of this arm will have this little element, the fluff around the code. Also here. And we'll have the posts that are kind of arms. So I'm doing now is just, just doing two lines in equal distance for this line, this blue line here, to just draw the finger and used this sphere as the same thing here. One thing with the thumb is that it has some flesh over here. So just draw a line here to account for that fleshy thing, for the term and the term, it has more perspective. So it's rather turned this way. And that's how easy you can make hands on your character. And let's refined coat. And here the genes or the pants, whatever the fox is having. And here we can even have some fluff as well, signifying the fluff with small dots as if they're small, small hairs on this pattern, on this material. This is how you can simply visually. Make fluffy material. Just make small, small hairs. Not all of them. That will take you a long time and it's not even necessary. So just draw the outline of the other leg. And you'll see that we actually had the spouse being happy without the facial expression at all, just with body language. And that's why it's important when you draw a figure drawing to know these expressions of body language and know where everything is, how the body reacts for different emotions. And let's also draw this code. Now. I have accounted that the code also have volumes. So I have extended a little bit of code and just have it being thicker. That's why, that's how I give more also volume to a material. Just extend the line and have it a little bit coming, coming on the other side of this body here. This is just an extra thing and something that is even a little bit more complex for you to try out. You need to try out different approaches for you to one. And now the thumb will have this, our hand over here and again, just around the fingers even with even if you can do them, maybe a little bit square, they will still look good. And I'm going to have this little finger being slightly separated because in the, in character design, having variations will give you Over, make it look better. And I'm going to say that again to give it more depth. And basically just draw the snow. And if we got here, not only pose, we got a whole illustration. This is basically a Christmas card, ready Christmas card for you to have and post. And maybe together with the snowballing, snow drawing exercise, you can have that as a Christmas card. And basically the happy path is done. And you see how different the same body can look and the energy that it can convey just by posing or body in different ways. And now let's go ahead and finish this other pulse of suspicion. And I'm going to do that in the next lecture. I'll see you there. 44. Skeptical Pose: Hello there and welcome back. Now, let's go ahead and draw or skeptical poles, or even this trust or false. I mean, that's what skeptical. So this is always a tricky pose. Let's do this first. We have this arm here. And when we cross or arms, one hand go under the arm, the other arm, and another hand go over the arm of the opposite arm. It can be pretty tricky. So if we make this arm under arm go in this direction, and if this hand is on top of this arm here, Let's signify maybe just with a square, then it means that this one is going under this arm. So if we have the arm over here, so this one is going to be the arm going on the top of the arm that is there, something like that? So let's pick up this thought alone while designing this character. And we're going to figure out the rest. So follow me again. In the drawing process, I have you have your pen and your paper. So what kind of skeptical character will do here? Let's do maybe a teenager, they're always skeptical, right? They always like, look at you like What is this really true? So let's do a teenager and we'll have a girl teenager. And the expression of skeptical is when the eyebrows go in the opposite direction. So let's draw that. If this is the nose, one eyebrow is lower down, and one is higher up. This pose usually is very subtle in humans, but in cartoon characters, you can exaggerated. There are few people that can do that, like Jim Carrey and the rock, the rock and move his eyebrows. Really like a cartoon character. It can have one eyebrow really up and one other eyebrow really down. So we'll have the eyes of this character being here. And let's now first design who this character is. Let's have these eyes that the simple eyes that we did before. And we have one eyes squinted and the other I opened. So you know what you're doing. And let's have this girl being around us skinny. So just around her face like that. And she also has her head slightly tilted. We're going to have maybe the hair of the girl being this kind of hair cut. We haven't done this haircut before. So let's try it out from one side, the big chunk from this side and a big chunk from the other side and something up front. So this girl has smaller face. So it still signifies younger, younger character, but it's not a little girl anymore. So the more proportionate the head of your characterised, the older there will appear. And that's how we'll have her mouth. Really skeptical. So the part of the mouth that screens is always around the eye that is squinting. So we have the whole of this area opened up and the whole of these areas squinting instead of the other way around. This is a rule of thumb where it can do a bigger impact on the emotion when you have one part open up and the other way, the other part squashed a little bit more. So we'll have this girl characters or less, have her arms. Being a rather slim now will come up in this for this design. And they always shrunk a little bit. So we'll have also, together with having the suspicious spouse, we are going also to have a body posture of a teenager. So on this square here because her fingers are really small, Let's just do two lines to make the hand. And the other hand will be inside there, behind there behind her lower arm. And we have the elbow, this arm being here so we thicken even this area. Again, this pulse can be tricky so don't beat yourself up if you can get it the first time. Just follow me along with this drawing and just try another one and try this crossing of the arm thing on your own when you do that. So we'll have this leg supporting it. So the body is also slightly tilted. So this part of the body, the shoulders falling in this direction, and this one is leaning in that direction. In that way, the body is likely a relaxed, but you see it feels like she's freezing. Teenagers look as if they're freezing and best slippy. We all been there. So let's have some genes on these girls, some snickers, a large Snickers because they're fashionable. And whatever Snickers you do, large or small, It's always starting with a half of a sphere to have as a place holder for the shoes and just draw the other leg a little bit quiet behind. And then you have to account for the proportions. You'll have to account for this tilt here. Because this hip is going to be lower down and this is going to be higher up. The proportions for these leg will start from this point on, n For this leg from this point on. So they will not be quite equal. And this foot, this leg is also bent. So now that we know her design, Let's have the paints. Actually this part of the body being slightly smaller. It's not a cartoon character like those guys. Let's give her some slimmer body. Maybe she has large skirt, large shirt that is hanging. So we'll use that, that round sphere that we did to put it in her character, in her costume, in her clouding. And use this part to have slimmer shoulders. And maybe some shirt coming out from here just to know that this part is shirt. And basically that's all we need to know for now. Let's refine and discover who this character is with the black pencil. So we'll just draw a nose, will draw the sneaky, had squinted and needs like asking Why. What are you talking about? Like always in disbelief. I didn't do that. You're accusing me of something I didn't do. And maybe just open the mouth a little bit. Just talking and maybe give her this freckles digestive. Have the freckles. And let's design the hair so we know what the chunks of hair are going. Just refine, explore this character. You can design a different haircut as well. Here is just an exploration process and we will keep that around face design. That from the sphere that we have. Just to be easier for you. I mean, it is, I know it is enough trouble having the whole hand thing figured out. It is a difficult pose. But you'll have to challenge yourself as well. If you want to improve. Don't be discouraged. If you can't draw anything, it's gonna come. I promise you that. It's like when I was little, I started going down the bed with my head first and I always bumped my head on the floor and I was like, What's going on? That's how I became an artist. Yeah. Well, no. But I just didn't know. I did everything with my head forward first. But how come it didn't work out when I was going down the beds are my grandmother showed me no. You first you turn around and you have your feet on the ground first and then the head. And I didn't get it why I had to do that until it kind of made sense. And it's going to have just an allegory for this happening to me. Maybe you have another experience that you can relate to. Something that has happened to you that later when you understood what everything was all about, you kind of felt that well, that makes sense. Now, here is the arm that's on the body. It's actually, the fingers are slightly bigger, but that's alright. We'll have the shrugging. Both her arms is smaller and we'll have the other one just behind. And let's have, let's have this shirt now coming as slaves from her costume. So that's all you need to do. We'll maybe have some color here from the shirt that's hanging in there. And we came up with that while designing. And while we actually didn't need this whole shape because these are fluffy characters and we actually decided to draw much skinnier teenagers. So now we'll have to account for all the lines. And sometimes the lines can give you suggestions for what you can do with your character. So now you have to make sure that these arms connect. So no, that's not this arm continuous and this one starts, I don't know, somewhere else. You have to think about the small things, but I'm sure you do. These are questions that you're asking yourself that I'm sure of. So we'll see her genes, her skinny legs like that and we'll have the hips shifted forward. So see maybe something from the back of her of her back. Her about here. So we'll have the skinny skinny legs and let's have the shirt here. Coming behind maybe has different layers of this shirt. And maybe some really she's taken her boyfriend shirt or her father's church is basically oversized for this teenager. But they like to cuddle in long sleeve, clouding, whacked out. And if you are one of my students and if yours, a teenager, even better, You know what I'm talking about? You can use that to design even better characters. So I'm going to shade this leg just to create more perspective and more volume. So I'm going to say it even the hair to design a better character. And give you the idea of how simply by drawing these shapes, following the thought process, you can design your own characters later on because you're not going to draw just the same characters over and over. You're going to start designing your own characters. That is the goal, right? It's not just drawing this same characters and this same process over and over. So that is something that you're going to see. So I'm going to shade a little bit just to create more poacher. And basically this is the skeptical girl character with a pulse all put together. So let's go ahead and draw I'm angry character. And I'm going to do that in the next lecture. I'll see you there. 45. Angry Pose (Shouting): Hello there and welcome back. Now, let's go ahead and draw some angry character here to see how we express this energy through our mouth. Because we want to basically attack with our model with all words. And words can be very painful back towards maybe more painful than, than a real punch Really. So we'll have the character trying to exceed the energy, straightforward and attack its opponents. And being angry is also a feeling of helplessness. So you gather all your body parts together in fear of this helplessness. And now you have the eyebrows AND opposite direction of the other characters of being sad and happy. So you kinda shrug the eyebrows closer together to the nodes. And let's design. I'm angry guy here. Maybe he had, they had a fight with his friends and he is really, really angry. So I'm going to draw maybe larger ears just to make a difference. 46. Angry Pose (Helpless): Hello there and welcome back. So now that we did the angry posts, this pose is basically also an energy pulse trying to release energy as much as, as much as possible. So now that we have this thing here, we picked it up or I did your gels listening with me. So let's have someone being really, really angry. And let's have maybe our soccer player or a football player just being angry for not being able to resolve their soccer football thing the way it's called. So let's design them. Let's have the nose having been over here and the face and body are really going towards each other. Just containing the N and G of the body that has built up and trying to release it. So now you just draw the arms on top Of those of this middle line and you draw the, draw the fingers. So we'll have the finger, the thumb here. And you have half of the sphere split in three. So you have the Feast here, and you'll have this one also, but the other way around. And we will not going to see the whole arm, the whole hand. And we'll have a little time here to make the feast. And then you have the angry pulse. Now, this is more anger out of helplessness and already it's not pointed at anyone. This one here is an attack. This is a variable attack towards someone. So you see the energy is pointed this way and out of the guy. This one is more helpless. I have nothing else to do. I mean, we've been talking about it, soccer football and whatever. It's not resolved. So whatever, what do you do? You jump jump up and down, and there is nothing else you can do because that's not gonna be resolved. Nothing you can do. Saudi. Angry eyes. The eyebrow squinted, even the eyes are not looking at someone anymore at anyone. The eyes are also screen debt. So we'll have this character and tiff or a grinding. And the energy is just built up. And let's have the sleeves of the soccer player. I'm going to say soccer because while sometimes I might just say football because I'm so used to it. I don't play any of it and I'm not interested, so I never really feel this poses. But I know something else I have felt before. I don't get so angry anymore. But yeah, I can imagine people being really, really mad about it. So let's have a leg, the legs of the soccer player. And because of the design, I'm going to make some thicker legs. And here, maybe not. That takes us to a sports people. They have smaller legs. So I'll have the shoe. Just design a house fear again. And here, a house fear. So for this character, you will see the lower part of the shoes. So you just design on top of that just an ellipse. And let's have the nice, so you'll have some perspective here going on. So just follow me in this drawing. So you just draw on both sides of this line. But here we have the knee and you're looking at the character from this side. So we'll have this lower part of the leg coming forward, the upper part of the leg like doubts and ending up here in smaller, smaller leg. Lower Lego cow. So let's draw some shorts here of angry soccer player. And I don't know any team. So I have no idea. We'll just pick up something and it may be a new team arising after this lecture. Or some people can be just made up. I don't know any team and I may happen to draw. Just a pattern of certain team and I will have no idea. So just be patient with me for this pose. We're just drawing characters here. So what else does this guy have that is angry and a sports person, sportsman. So we'll have maybe hair in this array. So let's design some chunks of hair. Because he's been jumping up and down. And he's completely insane. No one understands. He cannot resolve it. He's been talking on Twitter trying to argue about this thing and use it soccer, is it football? No one has listened and it has led him to nowhere. So the only thing he can do is just jumping up and down and releasing this energy. Now, it's all we need for that. Now let's go ahead and refine it with black pencil here. So we'll have the eye, so we don't have to have any direction of the eyes, will have eyebrows. You'll see that I draw thick eyebrows, but they don't have to be like that. You can design your own eyebrows later on, slimmer, wider. I'm just giving you a simple design that also you can get used to. This design have the most closest to cumin proportions as possible. So you have trained all these poses with having all the measurements that we talked about, where the legs and the arms and elbows here being in, coming to the waistline. They are very close to what we've talked about all along. So that's why I used the same and same proportions to get you used to this this drawing. And at the same time, I'm just trying to give you some character traits and how can you use those designs and design your own character? You see these guys are probably sweaty because maybe he just finished training. And there have been someone in the audience, a good football game guy. And he's like It's not football. Soccer. Yeah. So let's design the shirt and around the legs. And now we'll have the, the shorts on top of these legs. You see that I'm not drawing them straight. I'm following this body, this volume here because the leg is not straight, it has flesh, it has muscles. So you have to account for that. So we'll have some socks here. And the source can be also a little rounded like that. And let's draw the other leg. Again. I'm jumping from one place to the other to make sure everything is proportionate. Everything is looking good. And here, this this part of the shorts are falling down so they have a little bit different structure. They're not right on the leg, they're not tight. So they can be a little loose and little different than those other shorts. And we'll have the leg over here and so we'll have the lower part of the shoe. I mean, if you have an idea of how to draw Snickers of certain brand, I have no idea. Different brands. Well, I know some brands, but yeah. I'm just going to draw simple, Simple shoes. So let's continue with the shirt. And again, the hand is increased tight in feasts. The character is basically squeezing all the body parts. This is also a posture that is rather defensive and in rage. And just draw every line does follow up the lines that you've already drawn. And here I'm just going to continue the shirt and give it some movement. So I'm just extending it a little bit and that will give it some movement. That thing that will look like it is, this guy has been jumping up and down four. For a while now, and it hasn't resolved the problem. So poor guy is no way he can resolve that problem. So let's draw the hair, the hair and has really here in this array. And the hair goes around the ears. And so you see that I'm drawing chunks of hair like a triangle. And here in this other character and the girl, I've drawn the care, the hair around. So when you draw bunches of hair, they look like triangle, usually chunks of hair. And if you draw a haircut that is more currently, they have a rounder edges. This is something you can remember. I'll have another chunk of hair on the back of his head. And here we'll have another arm in the background. But let's just shade it even more. Just a silhouette because it is important to be clear where the silhouette of this guy is and then how the pulse looks like. And you see that I'm posing, this pauses not from the front of this guy, not from the front, but a three-quarters. Why? Because the clear idea you have of each pulse to convey to your viewers, the better your illustrations you will design. You are basically trying to convey ideas to trick them into a different reality. Because we know that every action is actually a number of browsers. This is not just one pulse of jumping. There are more pulses, I'm jumping and you have to choose one of them. So choose the post that conveys this idea best. I'm going to give him the same shirt. I have no idea if a soccer team has these patterns, but maybe someone here knows. I'm giving him even darker trousers. So it really looks like a soccer player and being believable. So this is very close to an end. And I'm just refining, refining things. And just of the pulse is basically already done. And I'm just going to draw that he's on the football plan, the soccer playing, and I'm going to have some grass as well just to signify that anger out for football or soccer player. And maybe you can do some lines like that as well. Here. These lines are signifying in cartoon characters, in cartoony drawing signifying motion. It means that the leg has been down, this arm or this character has been up and has come down. So these lines are very typical. So this is the angry false. Now let's go ahead and do some lazy poles to round up or chapter of body language. I'll see you in the next lecture. 47. Lazy Pose: Hello there and welcome back. Let's go back to our characters and we have the lazy pose. So let's do a little girl here that is really, really bored. And I want to use the girl's character because it's really cute. Little bored girl evokes a little bit of a simpler, you just want one to feed her candies. So also, because I have the opportunity to have another element here that can describe this, this dragging out the body and it is ponytail. So I'm going to add a pony tails to her on both sides. And this one is over here and she's going to have her eyebrows looking up. We'll have the nulls here. And now we split the face on both sides, sides of this line. This line is leading us to find where the features are. And this line is leading us to find where the chicks are, the cheeks. The one trick is here and one here, and the eyes are on top of the cheeks. Now we have a perspective change for these eyes. So we have to account for that. Will have much smaller eye here and a slightly bigger here. And we have her looking up in the sky and Slack. Please just give me something because I'm so bored. And let's have her mouth being tiny little mouth here. And just sulking, sulking little girl. And we'll have her neck visible here, and her hair continue here behind. And she has really large head like children. That's how she looks like. Children will have the other one I just suggested here. And now you have the pulse already. So just design maybe some little dress and we will use 3D spheres to design her shoulders. One won't be on the back side, and this one will be on the front. She's going to have a little bodies. So we'll draw this part that we drew just a very short dress. And we'll have the sleeves come in here. And the hand just turned this direction. So we'll see a little bit of the little finger and less design the, the legs. Just design them maybe just like this triangular shapes that we did. And this one here, they are kind of like meeting each other level beds. So just draw this leg. And again, how spheres for the feed and the other hand is somewhere here between the two legs, but I'm not sure we're even going to see them if we have this design, but what we can see, maybe it's the lower part of the girl's hair. So this is all we need. She started drawing this drawing. So we'll have the girls little nose and we'll have this boring board eyes, not boring eyes. They're very cute eyes. It's just boring. She's just bored. And we'll have her eyes looking up. And this one is on the other side. We have to account from this middle point really where the other is, and also thinking about design, this can be hard on you. If, Sorry, Just follow me. And you will also get the feeling in our of how to do things. Because again, while doing so many exercise, you will get just better and better and there is no coming back now. There is no coming back up you not knowing, not doing these exercises, but the improvement is absolutely remarkable. Remarkable. That's what I'm sure, because that is what everyone what has happened to everyone. So I'm just going to draw her lips and her chief over here. Just looking something in the air and maybe some kind of bug. Just give her some small chunk of hair. Now, everything here comes really close. So you should have sharpen your pencils. So you can have these features happening here. And let's draw some big freckles to make her even cuter. Refine the eye and have the head, the neck, and the hair. And no, it's just easy. These guidelines give you the position of everything. That's why it's good always to have them and to get used to that, to get used to draw loose as well. Not to try to have clean a line as just start with pajamas to draw loose. And now we have the other shoulder and the arm on the back and we'll have her stomach coming here. Let's continue the arm because it is on the front of her body. She's barely able to walk because she's just so she has so much lack of energy. And that's because she is bored. Little girl does give her some candy. That's going to fix everything. Yes, that's what every little girl things and maybe not just a little girls might be. Their parents as well. Can the fixes everything who doesn't like candy? Yeah. It's not. It's just going to make you hyperactive down. That's the next thing. Then you gotta be some of these other guys. Yes, there are a lot of emotions to cover. So I'm accounting for some of them and covering some of them. But the easy way, again, is to act out this emotion. Many emotions, they kind of overlap each other. They're similar, they have similar pulses. So if you know how the character is angry, there's similarities. A lot, two other posters and you can generalize. But when you have this exercise and you see how body language affect the culture and the figure on the door of your drawings, you will think about what feeling you want to convey, what emotion you want to convey with your drawings next time. So you're now how everything how everything works. And now I'm going to give her some flower dress. Some large flower just to differentiate one texture from another and give some life to this character. So she's not a boring, she's bored, but she should not be boring. So big flower dress and she's a very simple character. I hope you've managed to sound. Now. I'm going to shade the the legs in this way. And I shaved the leg that is on the other side to create that. You already know that and see and seen how this works. And that's it. So now we have six characters with different emotions, starting from the pouch or up, just doodling. And when you have the character now, the next step is easy. If you scan it, if you clean it up in a digital tube or two colors to it. And then you have illustrations. Your illustration done. But you cannot start without having the construction of the body. That's where all your troubles slide that this misconception that oh, I can't draw thing. It's basically because you're trying to draw the outlines forest without having a construction. You're trying to build the house from the windows down, that's not gonna work. So I hope this has proven to you yet another example. Go take some big break a day to a week or maybe come back the next day if you're ready to go with the next lecture, I'll see you there. 48. Old Guy - Structure: Hello there and welcome back to another section of figure drawing for cartoon characters. Now, let's look at figure drawing according to age and weight. Let's first start with h. So even though we have the same proportions as we age, there is something that's happening in the body that changes the posture of characters. If you are going to draw characters that are of a certain age or older, or want to behave all there because sometimes you want to have a younger character acting out a role as an older character, then you can have those posters in mind. So let's draw the spine. And the spine as we age, starts to shrink because the spine is like a spring. It has an elasticity. And the spine is also held by, by our muscles. And as we age, the muscles weakens. And they have two forces applied to them. First is the force of the muscles holding the spine up. And also there is the force of the gravity that is pulling our bodies down. The weight of our bodies will have the spine held by the muscles of the core area, the muscles of the back and most of the muscles of the stomach that are holding us up. And also we have the muscles of the back area and the muscles of the ties that are holding us up, but now are weakened by the changes of the body and also the lack of exercise. So exercise can keep our muscles intact even as we age. So let's just see what natural causes can cause to the body. So this is just a character design things so you don't have to know all the biology and anatomy of the body, but you have to briefly understand what's happening so you can be able to draw these characters. So the head is here and the character must be able to look up. But the neck is basically a strange. So usually the Nike is always a holding the head looking up. So I'm just going to briefly draw the head over here. And here, it doesn't matter how big the head is. The head of the older people are much in human characters that are not disproportion is much smaller than the head of the cartoony character. And let's draw the legs. And the legs are always curves. So the knees are always bent. For older characters, all the people, because they're always trying to balance out all this area here and the older people and sometimes not managing to carry this weight on their own. So they're using an extra help kind of like the third leg they're using maybe came to hold themselves up and to be able to move forward. So we're going to have this extra balancing thing because sometimes the muscles doesn't hold up and they need to basically balance on one leg to move forward. So we have this curved body posture. We have the both hips on both sides. And I'm drawing it in perspective. So you have a better seal. What I've done to pose of an older person. You have the shoulders on both sides of this spine. If we assume the spine is here in the middle and it's very curved spine will have a line going from this pose to this pose. And you know, because it is in perspective, it is slightly different in size. So it means that this part is slightly bigger than this part because we are having a perspective going this way. And the other arm is maybe a relaxed down, but it can do anything we want. So this is basically the poacher of an older person. Let's flesh it out in the next lecture and see how all the body parts are situated in here when the spine is dance and how to this character could look like. So let's fantasize out a character and I'm going to do that in the next lecture. See you there. 49. Old Guy - Refining: Hi there. So let's continue with the older character and design, also, an old character. We haven't done this before, so it's a good way to practice to draw even characters of different ages. So let's find where the phases and the phases, the nose is on this line, the character is looking up and really dragging is the spine and his neck forward. Just drawing different spheres here and there. Just to have the feeling where everything is. You see, I don't keep anything clean in adult stage. You already know about it. So let's draw the nose on top of this middle line. So just draw a large sphere. When we grow older, the nose is continually growing obviously. So let's exaggerate that and draw even bigger nose to enhance that feature. Because cartoony drawings is about exaggeration, stylizing, and experimenting with features and the characteristics for different ages. So let's draw the eyebrows, Let's draw thick eyebrows and they're kind of triangular, having more bushy eyebrows at the front of the eyebrows, closer to the nose and slightly smaller at the end. Let's do that on the other side of this middle line. Now considering wider noses and things, so we have another measurement. And as you know, as this curve goes around, these parts of the body, of the face gets slightly smaller in perspective. To look realistic, It's not the same size. We have to account for that. And let's draw some wrinkle just to signify an older person and older phase, we have the mouth and happy balls. What else can we do? We can design very easy or character. So just design the eye as just the dot and the other one is as well like that. You can design any kind of character. Let's design some wrinkles on the guy's face just connected to his eye. That is very simple. I like the character that we did. It's on a young character. And justice wrinkles here. Simple features can convey the idea of the character being old and design some wrinkles on the forehead. And let's have his mouth maybe opened some chin. And we have to account for the fleshiness over here. So let's also designed the guy's face. And what else becomes bigger is also the ears. So let's grow. Let's draw longer ears and design the skull. And let's see, we're going to add some hair later on because old people have less hair. And let's design where the shoulders are endless. Design the whole this area as the neck for the Nike's connected the spine. So let's first find the old person's body is. So here is one hip and here is the other hip. So let's design also the body being curved in that way, going to the next shoulder and the stomach being somewhere in here, draw another sphere to discover where the stomach is because the spine is going inside the body. And let's draw the shoulder here and the arms of the guy on both sides of this middle line. And now you can move some features for fun back just to make sure everything is looking good. And here, you know, the old thing that we do, It's applies even here. Just draw half of a sphere. And we'll have the cane here, and we'll have the fingers drum. Very simple way, maybe a thumb on the other side. And let's draw the fence. And the shoes just have a very simplified character and very simplified trousers. I'm drawing over and over the lines to have my, I feel that character design, how does it look like here? And the other shoe on the other side. The stomach here, the character is coming to you live. And this is going to be fixed even later on when I have, when I designed the character even with the black pencil. And I'll have maybe some hand here on the other side signified with half of a sphere. And we are going to complete this later on. When we are drawing with the black pencil and we have the posture of an older guy. So let's go ahead and refine that where the black pencil and see what kind of character we get here. So I'm going to draw the eyebrows, really bushy eyebrows, especially of guys, are getting thicker when they age. These are changes in the body that are happening. And yes, so we have wrinkles on the forehead. We have the nose. Just refining now the half sphere or the ellipse shape that we got to have the other eye on the other side. And you see that I'm still drawing the small white dots and the glands in the eye. This is still a cartoon character. It's not just an old person, It's a cartoon character. So you can stylize and simplify the features of your character. To have him look as cartoony character. You draw. Children's book about your granny or your grant that this is a good exercise to do so you know how the body is and why the body is like that. So I'm going to draw just nice tif, even though the old people maybe have less stiff, but this guy should be also likable in cartooning. So let's have the ear here coming in. And it is also on our proximately on the side of the nose. And we can have flashy skin falling down like that for this character. But the more you actually draw the simplified character, the more they will look cartoony and a little childish. If you want to have a likable character, even as an old person. So if you want to have an evil character, you can exaggerate features that makes the character this likable. Or just add more details. Just the eyebrows lower down more like an angry person. More not as rounded shapes, rather sharper shapes. So let's have the neck. And the neck is just pulling, just keeping the head on the spine. And let's just draw the shoulders and draw on top of the blue lines that we drew. A lot of. I hope, watching me doing that and seeing how characters come along that you are encouraged to not keep your drawings clean to start with. And you're not afraid to just do a bunch of lines there and see why this process takes you, because this is the way you design characters. So let's have the arm and some wrinkles on a shirt. We haven't even decided his clothing here, but we can add some wrinkles because we have now the position of the elbow. You see that the curvature of this line here is immediately giving us the position of the elbow. The old people are having a rather thick clouds, maybe a pullover. So that because they are feeling cold like that, this is also can enhance this feeling of an older person. So I'm just going to draw the gain a little bit in front of this foot because he is carrying the cane width arm that is in front of us. That is towards us, and the other arm is just hanging. And let's refine the clouds. He said he's going to have some kind of a pullover and they usually mean sometimes have well, what I'm thinking is basically what I know my granddad and how he is dressing up. He had like a shirt underneath his pullover. So if you had different reference for an older person and how do you know that your granddad has dressed? Use that as a reference as to dress your character design. And this is just an icing on the cake that we know. And the old people now or never, usually straight on the backend and neck and their legs because that's how they have come to this pose. They have ended up with this pose and they are not straightening up. And actually the exercise, I believe, and I know an exercise just keeping the muscles that are holding up their spouse in shape. Again, actually restore a lot of this was happening, the gravity and the muscles that are pulling us up and the bones. These are two forces in constant interaction with each other. What I wanted to say is that the muscles that are pulling you up are always a reversible and you can actually train yourself to be younger. They are women and men that are doing marathons at 9,000. We have these two movements and pulling weights and contouring this gravity and this decay of muscles is always there for us to know and can see Dar. But as character designer, you have to know what kind of person you are drawing. Is it the person that is trim and holding the muscles intact? Or is it, Is it a granny on granddad has not so much of our attention on those things and they enjoy life anyway. So that's what we're doing here. So we'll have maybe some hair that are not chunks of hair like on the younger person. The loss there, hello, especially men will have just chunks of hair like that and maybe just a little hair here, three pieces of hair, three chunks of hair on the other side to convey an idea of an older person. And we'll have the ground year maybe shade, shade this leg just to have the depth of the drawing and having the leg appear backwards, but I'm also at the same time going to shade darker. So why do you do when you have fans being darker and you want to create more depth while you go over another layer of shading on the leg that is behind, that is basically all you need. So now we designed an older person. Let's try out and see just an impulse or to how this, all the person will be moving. Performing this, performing some task just to see the difference from the younger characters. I will do that in the next lecture. I'll see you there. 50. Old Guy Kicking a Ball - structure: Hello there and welcome back. Now, let's investigate how a body of an older person and older character will perform some of the tasks that we did in the previous lecture. Let's say the character is kicking a ball, and we'll talk about soccer again. So what is going to happen here? This character won't be able to straighten the spine and you won't be able to get this Jane the strength to kick the ball because the spine the spine is banned permanently. So what is he going to do? And let's try to discover. A postdoc can do that. The character will have the spine basically bends what else will. So it has to link. The character needs to lean on one side to balance out a leg that is going to be in the air. So what the character needs to lean on one side. So let's draw the shoulders here and one line, leaning this way. And we are going to move the cane on the other side. So we're going to draw an arm leaning on my cane. So let's draw a ball where the cane is going to be, where the arm is going to end, and the hand is going to pick up the weight with this cane. So what else do we know? We can lift the hips a little bit up to have somewhat proportionate character. And you see I'm just doodling to find that where the hips are, whether spine is. So we're going to have one hip here, one heap here, and we're going to have a leg if we assume the gain is ending over here. So we'll have one leg bent again. Because this is also a permanent change. The muscles of the ties are not holding up the body anymore when the spine is damaged and it's permanently bent that way, then you have to split the whole balance on all the parts of the border in this matter, the legs and the lower leg. So you always have this spring effect distributed to different parts. And we're not going to have the character, basically James strength to push the leg higher up. So we're going to have just the leg slightly bend and not as far away because they are not as strong. The older people I know I left the head out, so let's draw the head and maybe the character is looking forward to try to hit the, the goal. And the character is also going to have the arms closer together, maybe an, a hand tight in a feast. So let's draw another sphere. And this is basically the force out the older person kicking a football. Let's draw the full bow there, maybe going to have it as close as possible to where the foot is because they're just going to push it basically, they don't have that strength to Jane and this energy. Because the farther away the more we prepare for the hit, the stronger the heat is going to be. Older people don't have the ability to Jane and this force to kick a ball really strong. And this is the difference from the character, the younger characters. So let's go ahead and design this older person and see where the body parts will end up in this drawing. And I'm going to do that in the next lecture. I'll see you there. 51. Old Guy Kicking a Ball - Design: So welcome back. I hope you had some refreshments. Maybe you have practiced on this drawing couple of times, so you're ready now to add some character to it. So let's have the head and we said the head is looking up. So one of my doodles that I scribbled on to find this sphere, that way is already here. And that gives me the idea to use that scribble to draw the middle line of the character and the character is looking forward. Maybe this will be the line, the beginning of the nodes is going to be here. You can also draw a line if you want to find the ending of the nodes. Remember, you can draw as many lines as you want to. There is no a root or how many lines you can draw. So let's have a big nose and let's have the eyebrows coming exactly where the nose is ending. Node B will have the same kind of character here. We'll have him looking forward and we'll have the ring girls will have a happy character. He is trying to hit the ball and he's not. He is basically doing whatever he can with the features with a strength that he can. Maybe he's playing with his grandchildren. So he's happy to be around them like that. And so let's go ahead and discover why the bodies so the head is attached to the neck and we will extend the neck like that. Because the flesh of the older people, even under the neck, it loses its elasticity. So the neck is wider. So let's design the body of this character. What do you want to start from first? If you want to start from discovering the hips, just draw another ellipse on the hips. Maybe draw another ellipse if you want to, on the shoulders. And what you need to do is basically connect this ellipse here with the ellipse below. This one here with the other ellipse. That's another easy way to find where the body is, just connecting them. So if that is the spine and the body has some thickness, so we will have the stomach being of here and the stomach, the hips are moved forward because the body is basically balancing with all these hips and the core and the legs with the ties and just the spring effect of the legs and the upper part and the spine are creating the spring effect that the older people need to actually perform any task and to move forward. So this is a really a difficult task for the guy to perform. That's, that's basically what he's doing. He's turned on one side. He is leaning on the canes so he can hit that ball. And now if we see the hand from this side, we know that it's going to be at thumb over here. And the fingers here are going to be in perspective. So we can just draw one finger here and another one on the backside. And we'll have this fleshy area here for the tongue. And just connect this sphere where the lower sphere. And that's all we need to create, the cane fist that is holding the cane. And we'll have the trousers and another half sphere for the shoes. That is just making it easier for you. So you can really design your characters and you can put your attention on the motion of the character. So we'll have the arm, just like a sausage, just two lines. We know whether our elbow is, where is the top of the curvature here on this little curve is basically where the elbow is. It comes natural. And now we have the hand here, tight fist. So we'll have 12 lines and that is enough to draw fingers. And we'll have just a small sphere on an ellipse just to draw the thumb. That's all you need to draw the arm. And he's basically or a character coming to live here. So let's go ahead and investigate, even and refine who this character is. And by now you know that the design might change. The design will get refined and the personality of the character. We'll come forward. So let's discover who this character is. Without that might be with that it is the same character. But let's see. We're going to have some fun here when the character design, because we are talking about figure drawing. And when you draw the figure, you out to have some fun and design a little different characters if you want to. So the same and the same way that we have to train or core muscles or ties or a muscle or a bag that are holding us together, that are enabling us to perform tasks and to stay healthy and able to move properly. In the same way, you have to train by drawing characters. So you can get these, you can get your drawing muscle intact. It is not a muscle only it is not your hand that is drawing. It is basically your mind that is drawing. It tells you where to put the lines and aware not to bother making so many lines now gives you an option. Do you want a chin to be over here or over here? I mean, both are possible. If the gene is here, maybe the character will have rather more humanoid features. And I've been guided from the fact that I have drawn more and more characters that are closer to human anatomy. And that will give you the possibility to draw complex characters with having these proportions done, because this is basically what's more difficult to draw when you draw cartoony characters. And now I'm going to draw his, his skull. And let's draw the neck in in comparison in relation to the chest and to the shoulders. Let's pull the shoulders back. So he's basically leaning his body on this gain here is distributing the weight both on this leg and on the cane. And this is going to last non-variable long he cannot keep the balance for very long. So he needs to shoot the ball really quickly and go back to supporting himself with both legs and the cane. He's holding the cane. And you can apply this poster to younger people as well, younger characters if they're acting out. As always. If you have a storytelling where a guy or a girl does the character who is pretending to be old. You know what to do, you know how to create the body. So design the spine and the body. So it acts like all the person. Now I see that this lines here are inappropriate because the character is rather turn towards that. So this line won't be visible. So I'm just, I'm just doodling over them really. I'll try not to use the eraser and also have followed me, knows no why. Because you need to learn to trust yourself. You need to experiment and learn to experiment. You don't, you don't have to tell your brain that you are wrong. And this is your kitchen. You have to be free to create. While in your kitchen, you have to be free to have it messier. Before you get the recipe that you need. So now here, I am giving you the recipe for how to draw cartoony characters. And I'm not encouraging you to use the eraser because that's creates distrust in your ability to actually find it without it. I don't want to give you a crutches to go with while you are learning to draw. I want you to trust yourself. And that's why I'm not using any eraser and I'm not encouraging you to do that. You will have the time to do that later on. When when you have drawn your characters, maybe you want to, later on, just pick up a character and refine it and you want to actually erase it. Daniel, create your children's book. Or when you are ready to go ahead with your character design, then you can erase and try out different approaches, but don't do that when we are working here, when we experimenting. It is very, it must be very new for you in the experimentation phase. So you might feel like you have a brand new shoes on and they are hurting. It hurts in your heart. Just doodle out and make it messy drawing. I know, I know it hurts, but just place your focus, focus on the learning and not really so much on the outcome. Because the outcome will come naturally when you have learned. That's a promise. That's a promise. We have all been there. I have been there. And now we are here and I know the way and you can trust me because I've been there just where you are. That's why I can tell you all those things. Because I've been there and I know you're how you feel about the drawing and so-called failure that you cannot do whatever I do and so on. Don't worry, just imitate the drawings that I do. Follow me and listen and you will know why you did things you do. And later on, you are going to be on your own, drawing your own characters and you will know why. I happened to be the same guy playing here. And this is his neck and this is the color, and this is the pullover. And you'll see that I draw these lines in curvature as well that follow this line. And they're not just straight, they follow a thickness. They follow this line because that's what that's what they do. That's what the perspective do. It is a perspective change here. And it is there is a volume to the body. So I'm going to draw some grass, maybe here as well. They're on a soft guitar playing. And for those who are in Europe, they're on the football plane. Yes, it is a happy guy. It is not an angry guy, so I'm not going to pick up the old soccer football fight. So I hope you learned a lot from this lecture. Let's just pick up another pulse here of an old guy to see how they perform some other tasks. I'm going to do that in the next lecture. I'll see you there. 52. An Old Lady - Structure: Hello there and welcome back. Now that we drew an old man and the way they actually balanced their bodies when they perform tasks, I decided to draw even a female, older woman because they have a little bit different distribution of proportions. So if we have an older woman character, Let's turn her in the opposite direction so you don't get used to draw characters just in one direction and play around a little bit of proportions. So why do we have here we have the spine that is really curved. Again, the spine has lost its strength and elasticity. The shoulders are moving forward, so we'll design the shoulders over here. What else do we have in a female character, while usually female, older people, they jane more weight around the stomach and the hips. The hips area. It changes a little better way. They stand. So if we have a character over here, and this is the spine and more design the hips, maybe just more from the site of this character. Let's find the hips over here and we'll have the stomach over here. In this wide shoulders are more narrow. And we'll have the chest area here just signified with another sphere. What else do we have? Let's connect the legs. Just draw another curve for the legs. And here, another curve for this leg as well. And we have the chest area being here, and we have the head here. And here it is about character design. How big do you want the hair to be? And they have the same a need to support themselves, but they carry maybe an extra weight while they're also very small grannies. That's for sure. But just let's give you this exercise where she is carrying on extra weight and it comes also from the chest. So if this is the spine and these are the chest here, and there is a line going also around this shape that describes the stomach, the middle of the chest. And we can design our breaths on both sides and they're also sagging. And so everything is squashed in the middle. And maybe she is awesome because the, the female muscles are weaker. They have less muscles to start with. From the male character, maybe she is also holding her back. So design an arms are one part here, one part here. And the hand is over here. Does design another sphere. And she's looking forward and she's also supporting herself with a cane. So does design the other arm on the back with a curvy line and have her also support herself with the cane. And here, let's draw another one sausage here. One sausage here. Same thing here to do find out where her legs are and a half of a sphere and a half of a sphere here for the feet. And basically we have a female character that has more weight around the waist and the hips. That's where female Jane, mostly weight which is enhanced when we want people grow older. So let's go ahead and design this character. And I'm going to do that in the next lecture. I'll see you there. 53. An Old Lady - Refining: Welcome back. Let's go ahead and design this character. Now. The female characters that have gentler features and they have smaller noses and they have more open phases and gentler eyebrows, mouth. And let's design even a happy granny. So I'm just going to keep it very simple. And just draw a nose as a sphere and eyebrows as lines. And we're going to have the eyes just like a line because the flesh on top of the eyes, the eye logs are also losing elasticity and they fall on top of our eyes, giving us this kind of just squinted. I look solos design her ear approximately here. And how do we want this graph to look like? Maybe she's going to have a scarf. And let's draw that on top of her face, on top of those features because there is a hair under underneath and the cloth that will give them extra proportions. And let's just end this curve here with the button, the sphere that will symbolize the not. So we're not going to see her years of just draw over it. You'll see how easy that is without any fear, just doodle out things. And let's draw a triangle shape here and another one here just to signify that there is not going to continue this scarf that is just continuing on her back. And that's basically it. So let's draw her hand. It is a gentler hand. Even if we drew so big sphere, we can change it because we decided to draw a gentler head. So we just minimize this sphere and we draw up thumb over here. We'll see the hand from this side where the thumb is, and we'll see two fingers maybe, and a cane. Maybe the gain has this features. So she's holding herself, she is balancing on the cane while she has the other arm the other hand on her ties. Let's draw her arms. So just draw a sphere. Just drawn an ellipse here. And an ellipse on top. Sausage, sausage, as we talked about. These are the wide the arms are and maybe the sleeve of a dress. And let's draw here just these lines to signify where the fingers are on this sphere. And then here is the thumb. And that's very easy to see where the fingers are. So let's draw maybe also the fingers on top of this lines now that we know their position. And you can just draw them as sausages. As if you draw sausages. Maybe I should have had the lecture in the beginning how to draw a sausage. Yeah. So she's going to have a dress or skirt and we know where her legs are. Just connect these two sausages to describe her legs. This too as well with a line and maybe extend this one to have the same thickness as this one. Here you have to start eyeballing things so that they look proportionate. That's why one stage is just discovering the skeleton and how the poacher is, how the bodies. The next pose is designing the character plus figuring out the proportions of each element and that they match against each other. So she will have a skirt. Awesome. The proportions of the older people shrink a little bit. So their legs there. Everything we shrink a little bit when we get older. And this is also a part of the lost of tissue in the muscles and the, and the bones. So this is something that is happening and you have to think about it when you draw your character. And now we'll have, we have basically everything we need to start drawing or Garter. You see how Step-by-step, you kind of get your character coming forward and you don't need to rush, you don't need to stress. You just have to get comfortable with the process. There is no rush. You have enough time to get better and we're going to continue learning as we go along. So we'll have her eyes being rather squint that will have the eyebrows. And we're not going to draw too many wrinkles because a cartoon character has less details, it's more stylized. And if we don't need to draw just a granny as wrinkly as she is. Maybe we can have some two wrinkles around the mouth, like on this guy. And that is basically all you need to age her a little bit more and less design her hair. So some grants that have the hair in the middle. So we'll use this line here to find the middle of her hair. And from that point on, you draw a triangular. And that is where the scarf is coming. So same thing on the other side, but this time the hair is much smaller as four because we have this perspective change and we can have some lines here to signify that her hair is type in a note at the back of her head. And just round out the features. For this granny. This is a simple design for you so you can follow along and get nice results. And I hope you are enjoying the process. And again, I'm giving you both the structure of a character and the features of the character. Because it is nice to have the guidance when you have the structure, how do you find your character? And each character is a new challenge. And that's how it's going to be. And even though I have done this for a long time, each character is at Discovery. Don't think that every time I start a new character, I know exactly how it's going to end. I'm willing to discover each new character. But with this passage in hand, with these rules, when you know how to create your character design, when you are free to experiment your designs. Welcome alone. Now I'm going to do the dress. She is really hunched forward and trying to carry the weight of the upper part, the breasts and this weight here around the stomach. So let's design her arms, her hands. Now, we're just outlining whatever we drew with and blue pencil. As usual. You can find examples from your own life of how to design a granny. Yes, we all have a nice feelings about granny is because they are, they feel like home. You like you have this impression as the child being loved by your grandmother and they feel like home, like you coming home and you are loved and taken care of. So this is what my design conveys. And you are probably having a different clothing and different image that you're going to put into your drawing and just design the character the way you felt about your grand parents. So, yes, so when people get older, they become very they become very loving to the families. You understand the importance of family and. You get closer and closer to your family. So I'm going to design the skirt and it follows this volume here. The sphere that we do, that we did, but also it falls down because it is a softer material, so it doesn't go up like that. Unless you want your granny to be dressed with some kind of a different kind of costume that has a thicker material, maybe to do some wrinkles. So this material goes on top of the body and at the point where the material meets the highest point of this volume here of the flesh, it starts falling down instead. And now that I know where the stomach is, when the hips are, where the legs are, the upper and the lower legs. I can much easier discover and draw just the lower legs because I know that the knee is over here. And I don't need to guess it anymore. I can just enjoy the process of design, designing anything, and just giving some patterns might be she'll have dress, maybe she'll have just this. Yeah. I don't know what this is called when you are cooking. And my grandma had that. She was always cooking and she always wanted us to eat. That's what grand grandma's feel like they have to do. Yes. So this is an old fashioned, old-fashioned grandma. That's what I'm designing, an archetype of what an old fashioned grandma is. The grandmas after day will definitely be different, or there are a lot of different grandmas and there other people that keep in shape and they actually don't get this poster as much as anything else. We interact with our world, with the gravity, with the nature of the living creatures living being me and a bunch of hormones and flesh and everything that needs to be maintained the way you maintain maybe a car or your bike or your home. If you just left and left your home outwards, it was going to start to decay and things will start falling apart, is the same way with our bodies. If we don't maintain oral muscles intact and train and actually impose some other strand because our muscles are meant to be used, then they're going to give away to the gravity, will start shrinking and losing tunnels. Go to the gym. Who am I to say? This is just a drawing lesson, so don't take it too seriously. I'm just explaining why the old people and the characters that we draw now have different posture. So that's basically it. Let's give it some ground here. And this is a nice exercise for you to do to draw older characters. So you also have that in your mantle library. So whenever you need to do why you do the things you do when you design your characters. I hope you had fun. You enjoyed this lecture. So goodbye for now. 54. A simple Bunny character: Hello there and welcome back. So now you have been talking about humanoid characters, which has pretty much human proportions. But you'll say, what about characters that have completely different proportions? That e.g. have the body and the head in one. And you have really short legs or I mean, all kinds of crazy proportions which you can do in cartoony characters. So this section is about that. So let's start with designing such a character that has a really strange proportions, very simple character. So simplify them even more. They don't have body parts in the way that the human half. So let's have a bowl and really launch legs and see who is this character? Long legs maybe has very small feet. Everything is just disproportional and it has maybe such arms as well. So just draw lines for the arms. And here we have, if we have one arm here, we'll have to find the volume of the character on the other side, even though this character is just one sphere, it has a volume. And let's find the middle line for this character. So this one is basically the line of the shoulders. And now let's see how big the face is going to be. Because this is going to be a body and a face in one. Maybe it's going to be some kind of super crazy bunnies. So let's just draw the nose over here. Maybe can be just around now. So you decide that Let's draw this very, very simple eyes. Like half of a sphere is maybe you can have the round eyes. You can choose how to have your eyes here. And let's draw this really, really big mouth that stretches all over the character. A smiling mouth. It has nothing to do with the proportions with it. It's just crazy character. And let's have some funny teeth here for the bunny. Maybe frontier really big and some other team members. Very, very funny character. And let's have some ears. Just being on top of the head of funny character. Bonnie, very easy. We'll have some arms. So what do we do? Let's design this character with the black pencil. It is very easy. Do so I'm just keeping even this little thing that the nulls. I'm not going to have made any anatomical things, anatomical features of the bunny. Yes, you are so much more free. One your design reactors for cartoon, because you can experiment a lot. You can be, you can do any kind of characters, just go crazy with your imagination. And so these characters, that he just a head and a body in one goal. And that's it basically as smiling bunny. And it has a large legs which Bunnies don't have. It has none of the features of the band except that it has some teeth and some ears that signify that this is a bunny. And if you were unsecure with drawing humanoid characters, just draw such simple, simple characters and give yourself permission to go wild. And because you are living with this concept, that character's needs to look exactly like the original. And they don't have to be. Depends on what intention do you have. So let's draw just stick figure for this funny. It doesn't have any other lecture cells. Very simple stick figure. And we'll have the arms, maybe also as a stick figure. So we'll just have a palm that is black and just design just a stick figure of the arms. And we'll have the thumb here. Very simple. You can decide if you want, then maybe do some hair on the bunny just to make it look fluffy and you draw the other arm. So what proportions do we have here that the proportions that we talked about. One thing is that if you find the knee of the bunny is going to be around here. So this part of the leg equals this part again with the elbow. This part of the arm equals this part. The rest of the bunny has nothing to do with the proportions that we talked about. Has now had, it has the spine is together with the body. And basically that's just really funny character. It can be, it can design similar character for any kind of care. That can be maybe a B or either no, even cats, whatever you want it to be, you can just add features to this character that applies to those characters. So I'm just going to add some hair to make it fluffy. And that's it. I mean, it's that kind of character design, that which one do we do when you have such a character design? And how do they perform different tasks. But now, let's do some other character design and explore that. First, how we can split the proportions before we go into breaking down and have a pulse with this character. I'm going to do that in the next lecture. I'll see you there. 55. A simple Cat character: Hello there and welcome back. Now, let's go ahead and design another character here that is very unconventional. It doesn't have any phase. So now let's just draw a huge chunk of something. So just a round shape. And you see that my hand is going freely on top of the paper. I don't push. I'm trying to do that with many lines. So when you do that with a blue pencil, your brain is giving you permission to draw many lines and it's telling you that it's not final. Because if you draw with black pencil, we usually associate that with finished drawings. And we become much more careful of what we're drawing and we don't give yourself permission to explore. We want to have the drawing done and to look good from the get-go. That's seldom happens even for a train character designers and artists that seldom happens there do a couple of drawings usually and try to find the shape before the shore. I've what they are drawing and I know that from experience obviously. So again, you're drawing this character and three-quarters will find the middle line of this character. But it's just a big blob with a middle line. What else do we have? We will have a face and a body in one. We'll have maybe this time, I'll little sneaky cats. So we'll have the nose and the mouth over here. So let's draw the eyes. And you can just draw a line if it is helpful because it's not going to be a straight line but around line to describe, um, this, this volume of the cats on both sides of this line. Just considering this middle line and considering that the distance from the eye to the middle is bigger because it is closer to us. The distance from the middle line to this slightly smaller because there is a slight perspective going on, but not as much. Because the character is kind of like looking towards us. And this is just slightly smaller than this one. And just round them up. See how this looks bigger and how this looks smaller. Will have a character being slightly cross ICT because cross eyed characters look like kids and they look cute so the character doesn't look cross-eyed, but it just looks cute. So we'll have announced over here on top of this line and we kind of tried to have the nodes in the middle. We will think of this middle line and just design a line that will split those chicks into. And we will run the app. Maybe we'll have a mouth here. And the lower part, and we'll have the ears. The cat, maybe just small ear. So we'll have this big cat was small ears. Now, what else we can do that is unconventional and the opposite that we did for the other designs. Let's have this cat having really, really small pulse, just black dots, black lines basically. And it has the pulse in this, the pulse, the arms in this way, so the way the cats having it, and let's have polls that are very, very tiny here. It has nothing to do with the proportions. What else can we have? Let's have a tail over here. So jealous design, a curvy line going on the back of the cat, but we don't see where it is going. So we'll just wanted to have a nice silhouette to give as many elements of a cat as possible. And maybe we'll have whiskers here. Something like that. That's basically it, our design. Now, let's clean it up with the black pencil. You can also have a cat having this kind of eyes. Why not incur term Inca tuning? Everything is possible. There is no new rule that you have to follow character, have to look this way or this way. You can experiment. That is where your originality lies. That you can take what you know and you can break it down and experiment to find your own design. And we are all in a way. Affected by the characters that we have, like the films that we have seen. And that is true for me. And that's true for everyone really. So how do you do your character designs will be affected by the films you like, the films you have seen. But we, as artists, we are going to have to experiment with that. And also we are going to try to break those rules to design something new. Or personality lies. Who, who are you as a designer and what's your personality? Maybe you break it down in a different way and expand this idea of different proportions and design your own characters. But the idea of motion, we, humans are always performing certain tasks, certain way we are limited to our bodies and our body mechanics. So figure drawing is very essential for you to know how, no matter what character you draw, how the body is performing certain tasks according to the human motion. Because cartoony characters are humanized, made-up characters that can be anything but they have human features. So I'm just going to draw this little pause and then just black dots. That's basically all you need. This character has no hat, is just a big blob. So we are going to explore data later on and see how this character is performing different tasks. And we will have the whiskers here. And we'll have the tail, fluffy tail. It's kind of a cute cat character. Very different design for that of the bunny. You'll see that the bunny has long legs like stick figure and nothing applies. The bunny kind of legs. It's nothing that is similar with this bunny. It's a made-up character. So it's good for you to train with that as well and see the difference so that you don't think that only humanoid characters are possible in cartooning? No, that's not true. So I'm going to free here by drawing completely crazy characters. So the fluffy cat with just one body and a face and a tail is done. Let's see what else can we do over here? I will do that in the next lecture. See you there. 56. A simple Dog character: Hi there and welcome back to another lecture of how to draw unconventional cartoon characters. Now, let's design a very strong character here. So let's design a big blob again, but we'll have the upper part of the body being a strong character. And so we'll have maybe a dog character. So let's just have this fear that is larger on the upper part and smaller on the lower part. So what else can we do to make this jog or working? Let's find the middle line. And let's design the nose of the dog being higher up here. So just another sphere to find where the nodes of this dog, yes, and this time let's make large nose and small mouth. So maybe the nodes will be over here. I'll signify that. And what else can we do? We can have this dog and maybe just his eyes closed, just like dots like that. And what else do we do? We'll have the ears being over here. Why not? We can experiment with that and just try to find where the ears are and maybe just play around a little bit where the ears should be. And let's have the dog's mouth. Go on this line here. I'm being all the way down here. You see how you can play with the features. And now this dog has this volume here of the nodes with the proportions and down here with the mouth. What else can we do? Let's have a really, really tiny bodies. So on top of that, following this line, we have very, very small trousers. And what else do we do? We have very, very tiny legs. But you see when I do the legs, I assume that this part of the leg is equal, this spot, so the knees are approximately here, so we keep those proportions even if the legs are very tiny. What else can we go crazy with? Let's do the arms, Let's do super huge arms. Some kind of bodybuilding dog, just designed to sphere two spheres or ellipses, almost endless. Decide that here are going to be the shoulders because this dog has no body. And you can have the body being as well over here like that. I'm just going to draw a small body and these large head. This is also possible. Everything is possible. And now I can draw hands like that and easily ignore them. Because if I put the hands of the arms over here, that's going to be the default for my character later on, cos, I'm going to enhance that with black lines. So now this is just a test thing. And now I'm going to do the elbows of the dog being over here. So even though this part of the arm is going to look bigger, the elbow and the dog is going to be in equal parts from this one to this one. It's just that the thickness of the arm suggests that this part of the door of the arm of the dog is much larger than this part, but there is symmetry. There is a connection to where the elbows are. So that's it. Let's, let's refine the dog with the black pencil and see how the dog will come to life. And I'm just going to finish up this blob here, the sphere in small triangle and connected with the upper part just to make the nose of the dog looking more of triangular, triangular shape. And I'm going to leave this white glands here. The nose of the dog looks as if it is wet and it has this smooth material or texture to it. I'm going to draw some dots too. Make this dog, this character look more like the dog. So I'm taking a random shape, I decide what kind of character I want to do. Then I'm taking up features that such character or animal has in real life. I'm going to do the mouth here and I'm going to extend this line all the way down and to draw the mouth of this character. And it got us going to have just like that. And let's draw those features designed. The ears of the dog and a knee or maybe I'm just going to do a smaller ear here and extend this shape. It is a stylized character of that gives you the idea of the dog. It has nothing to do with what a real dog looks like. But it's still you say, well, this is a dog. So you kind of like my big hands, like a really maybe a watchdog and you have very small hands. So what else did we say about having something appearing big is make something else, in comparison, look small. So I've just put one arm of the dog behind and one from dad been thinking maybe giving it some clothing. But let's not do that for this character. And now I'm just going to draw the legs here with very tiny legs, just black. And that's basically it. It's a nice fun in character or a dog. So let's see how these characters will behave when they perform different tasks. I'm going to start out in the next lecture. I'll see you there. 57. The Bunny in a sitting pose: Hello there. So now that we have this tree, weird characters, let me go and tell you how can you think of these characters as construction? So you can put them in the movements that we already drew. So let's take this bunny, e.g. and let's have a chair for this bunny to sit on. So I'm going to just draw a normal chair from the side as on the other characters. So what do we have specific for this bunny? So first we have the roundness of the bunny. And to see where his hips are, how would he sit comfortably? E.g. we'll have the sphere over here sitting on a chair. And we'll know that he doesn't have a head and his legs are attached to the body. He also has long legs. So one thing that we have to think about it now is that the whole, all this fear needs to sit comfortably on the chair. So you can't have the back only here. If this is a round creature, maybe you want it to be flat at the site. That's also fine, but I assume that this bunny is round. So I'm going to assume that his hips are over here. So the legs are starting. From this point on. I will approximately measure from my main character, what, how do the legs applied to the body? So maybe this leg is maybe coming up to here so you can measure it like that. So this leg is big and it comes to maybe his nose approximately here. So I can measure it in this way. So this leg should come approximately to this side. And I'm going to apply it and think about perspective change as well. And he has another, the other leg that is equal to this one. So this is given and now we can make him sit with his 1 ft is on the chair. He has very small fit. We can have the other leg may be placed on the floor because it's going from the other side down and he has such a long legs that it can actually they can actually be placed even on the floor If we assume that that is the floor. And we'll have the foot a little bit around that. And the bunny has his arms approximately here. So if we assume this is the where the shoulders are of this bunny and this place is the head. So let's draw the arms that will be approximately that big. So you also can measure the arms. How big are the arms? According to the body? Maybe they apply approximately almost to the whole body. So you have to consider that this arm is bent. So you measure arm that is approximately as big as this distance here. So he's going to have his arms, maybe on one leg, and maybe he's going to have the other arm on the other leg here from the other side. So we assume that if this body is see-through, this other part of the body, the other shoulder is going to be approximately on the other side. And this arm is continuing over here and maybe a little bit stretched. We don't know how he's holding the arm on the other side. So now we have to draw the face. And we saw that the, the arm here, the shoulder is starting a little bit lower from the nose. So we'll say the nose is done here. Just a little distance here. We'll draw the nose and the mouth is now drawn from a perspective from the side. So we'll say the mouth is coming up to here. We haven't investigated this Mao, how big this mouth is. And we haven't investigated how the bunny looks like from the side. So here is a little bit of scope for interpretation. And the bunny has one tooth and the thief. We are going to be a little bit. In perspective. And we'll have the bunnies eyes like that and the other eye in this way. And we will have the bunnies eyebrows and we'll have one ear over here, so you just draw it as an ellipse a little bit, and the other ear will be on the other side of the bunny. And now I'm going on top of this drawing. That's alright. I'm basically, that is how this bunny is going to be seated. So I'm going to draw character with the black pencil to discover that everything is on the right spot. And also investigate how this money can be seated. This is basically the thinking process for you to add to the knowledge of the characters anatomy. Pose the pose as human characters. Human anatomy. And this here is a character that is very much simpler and has a different anatomy. But it has to look like human as well, or applied to human principles. Because the cartoony characters are really just characters that they are applied humans, human features to them. That's how we feel with their emotions. We humanize them and we think that they are like us. So we are going to have the other year on the other side. And let's draw the the rest of the body and just now draw one arm just placed comfortably on the leg that is lint on the chair. So we'll have the leg here and we'll have this part of the leg over here. We'll have the little foot will have the hand comfortably placed. Just as a black line, really. This is, this is okay. It's allowed. You see how simple it is just to make any character using these principles, these proportions that I've given you and even other kinds of characters. And you just think where, where is. Now that I have drawn that leg down, so I have to accommodate for that. So I'm just going to ignore this arm here and stretch this arm longer down here. How easy it is to really accomplish some changes in your character and you just position that the leg here can be stretched the other leg on the other side and maybe add some small fingers in black. Draw this character. And that is how this bunny can be seated. You can design. You can also have his mouth being darker. And how do you want this mouth to look? Do you want it to be Flats? Do you want to have some perspective and add some more volume here? This is also a part of for interpretation. And I'm going to maybe around up his, his eyebrows here and just add some fluffiness to the seat that bunny just to make it look like this other bonding as if it's the same character. So basically that's, that's it for this character. And you saw how, how the thinking processes. You see that I have drawn all the lines just to discover where the other, the other armies, just to make sure the construction is right. And now that you have the black lines, you don't really see the blue lines, right? You're now seeing this character and it looks good to you. But I know where everything is. So I tried to see the character as a see-through volume to be able to do that. So let's go ahead and see what this guy is gonna do. I'm going to do that in the next lecture. I'll see you there. 58. The Cat pushing a door: So welcome back. I hope you had some refreshment and now are ready to go ahead and try out a post with this character, unconventional character. So let's have this cat pushing a door. And now I'm going to minimize the cat a lot because I wanted to fit within this area here. So no matter how big you draw your characters, they need to have just the proportions are related to one another. So even if the cost that this cat is very tiny, the proportions are only related to other proportions of the body. So let's draw this cat, maybe pushing a door. So how would you have this gas spiny doesn't have a head, so it doesn't really apply as a character that we did from the previous lecture. What else do we know here? The arms are really short. So what we need to do is bring the cat as closer to the door as possible. And the line of action will be this line of action. And this one is going to involve the whole body. So we don't have a head and the head is not going to be tilted and not the cat needs to push with both arms. So we'll draw the door as close as possible. And one thing that we talked about that in cartoony characters, when you have shorter arms or even if you don't, if you, if you apply force to something, you are allowed to draw the arms slightly larger to make sure that there is a force applied to it. So we have this arms here and we can stretch them and move them up as if there is a flesh coming over here. And we move them up so we can change the position of the arm and we can establish them that this character can do that. So if you have a character that cannot do that, if this is a form, a surface or volume, something maybe, I don't know, an egg e.g. that can not do that, then you have to accommodate for that. And then let the arms will be over here at Delta and the body will come even closer. So think of the structure of your character and what are you allowing this charter to do? Because whatever you're allowing, your audience will just buy that. And it's going to be alright for this character to do that. So it has very short legs. So let's make one leg here. Let's stretch the other leg all the way over here from the other side just to show that it is doing everything he can in its power to push this pose. And now all these areas just doesn't look right in the leg, will be so much fathering. But here, you're allowed to cheat a little bit with the poses for the purpose, to express a movement. And now we'll have maybe the tail over here. There's going to be on the same spot. And where do we draw the face? The face is either down here and lean to really, really down. Or we can have the face higher up and have the face visible to us, may be linked in one side. So maybe just draw a middle line over here so we see more of the cats expression. So we'll have the nodes of a year. The eyes are really squinting, so closed eyes. And maybe we'll draw the eyebrows. And maybe we'll have the mouth here opened in. Struggle. Dust, the mouth where the grinding teeth. And here we can have the, the ears just triangular shape and the other year will be on the other side. So you just have the year visible a little bit over here, and that's it. That's all you need to start drawing this cat, and let's start refining it with the black pencil. So I just have this arms and the pulse just pushing. We'll have the simple around the shape. And you see that I now am eyeballing the proportions. You can start eyeballing the proportions and you can try and draw as much as possible by eyeballing your character and not measuring too much. That's how you will enhance your ability to approximate the proportions. And it's going to be easier for you. You're going to instinctively feel how big things are in comparison to other things. And you don't have to be hundred percent on size, really. You can have a slight deviation. I'm from the measurements of your character. When your character is moving. All these things are allowed in cartoony drawing because it is an organic matter and organic character. It should change proportions. I mean, when you stretch, e.g. you become longer, but you don't change the length of your arms. You just look as if you are longer than otherwise. So in Cantonese, characters, exaggeration is actually a key. You are allowed to exaggerate these proportions. So just draw the ears and the cat is getting really, really funny, trying to push the door, the door open. And now I've drawn a really large guts or a very tiny door. Depends on how you want to see it. So the door is a little bit in perspective. So I'm going to add some perspective because we have this other pole pushing from here. And we'll have this door and the thickness of the door or something like that. And then we'll have the tail coming here and just draw another line close to it, just to draw the other part of the tail and thickness and that set just do shade the pattern. So we can have, we can see that this is this particular cats. And basically that is it. Now you drew the cat. Maybe you can expand the features later on because it is a little rounder this side. And if you want to investigate how your cat is moving, you just draw this gas in different poses. Just having the same thought process as we have here. And that is how you do, who do things really accommodate for the hips and the arms and try to figure out how does apply to human movement. So let's go ahead and have even this crazy character over here, how that character move? I'm going to do that in the next lecture. I'll see you there. 59. the Dog throwing a Ball: Hello there and welcome back. Now, let's go ahead and play with this character and see how this character is doing things. So let's have this character maybe throwing a ball. So what do we need to account for? This character has a very large body. Let's have the line of action for the body. So you just draw a line that will imply how the movement is happening and where the legs are approximately as big as this character will have this character and leaned on one side, like the throwing of the bowl thing. And less design this character's body approximately on both sides of this middle line. Just fill it up. If you want to draw maybe first sphere and then maybe around that up. You can feel how this is comfortable for you. What else did we know about the throwing pulse? One arm is preparing to draw. This character has a really large arms. You have to think about this character throwing a ball that he needs to accommodate for this stays here. So maybe he's raising his arm a little bit higher up and we'll have the ball held with his tiny hand over here. What else do we know? Well, if we have the shoulders over here established, Find the shoulders by seeing here approximately where thickness of this character are, the arms starting. So we'll say approximately on the curve that starts downwards approximately here. So I'm just eyeballing it. What else do we know now? For the pose that the other arm is balancing this pose and it is on the other side. So it's a little bit further from us. So it has slight perspective change, any slightly smaller. So here we have a couple of elements already there. We have the arms, we have the body. Now, let's accommodate for this tiny, tiny torso or hips. And they are going to be approximately at the end of this embody. And let's have the legs in the same pulse as the ones that we drew for their throwing a ball pulse and he's maybe having 1 ft down and the other leg. Like about to Jane force the same human, human pulse that we drew for the body. Now, let's think of that. I mean, what does character be able to carry such a huge body with this tiny legs while probably not. That's why cartoony character exaggeration is that you have characters that maybe would not balanced in real life. But you put a pause on them that is very similar to human pose. And that's how you create the illusion that there actually are balancing. So we'll have the, the face being approximately over here. So I'll draw another line for the face. And you can turn the face the way you want that because this is basically a body and the head and how you turn the face of someone who has his head attached to the body? Well, you just move the features around the body. And that's how you can have the illusion that he's turning the head, but he's actually just moving the features. And now we'll have the middle line then of the face because the whole phase is going down here. So it's going to be approximately here and you measure how long is this mouth comparator, this creature. So approximately measure this distance according to something else, maybe this distance and you say that, okay, this distance is longer than the lower distance. Eyeball it approximately here or measure it according to the arms. You find something to measure it against. And we'll have the mouth slightly open, maybe some teeth here. The character is trying hard, and then we'll do the ears. Now, this ear is here in, in this pose and the other one is rather much more behind like that. And that's it basically for our character. Now let's start refining this character. Drawing the long nose and ears nose now is looking upwards. So I imagined that these nodes is a larger when we're looking at it at the front. And we can see more of this part of the nodes when the body is tilted in this direction. So that's what I assume. So I account for that in my drawing of the body. In this perspective, you can play with the proportions until you find your character, because this is a made-up character and the rules that you are giving for this character will be accepted by your audience, but you have to be consistent of those rolls. In. Now that I have this flesh of these nodes established in that way, well, I have to think that this is how this character is N have to continue drawing it. In the same way. I can't change in the middle of design or something. I can draw another character which has maybe flatness and it's not as round to now. I'll have one eye here and maybe have some eyebrow. And do I see the other? I am going to make it so I can see even the other eye. That's the thing with made-up cartoony characters or with characters that are less human knew that they are more crazy. You can cheat more in your poses and new design. Because for the purpose to create nice silhouette. So I'm just having the hand here, grabbing the ball as just a black shading shaded place. And then I'm just stretching, even stretching this arm, curve the body even more. And then I make it around. And then here are the small trousers, tiny legs, just taking this position of this character as the human position and balancing with the other arm. And now I'm going to do 12 fingers just like small lines. And that's enough to actually have the illusion that this guy has fingers. I'm going to thicken this leg and just have it even more around it so that it picks up the balance of this body. So I'm going to make the leg even more like he's balancing on his toes. And I'm just going to shade the ground to give it more perspective. And you see that he's almost touching the ground with his large, large arm. And I'll have to think about it, that it has very tiny body, lower part of the body. And he says very large upper part of the body and the face is basically just part of this body. And that's how you can use the same pulses, the same methods, but accommodate for your own character design if it's very simple character design, that's how you can think about it and play around with the posers. So I hope this was useful. You can take this character designs that we drew here and try to, and try to apply some other pulses that we went through in the other lectures like this. Sitting pulses and have the characters sit where they are hits, how they are arms will look like. Just try out different things with the poses that you already know how to draw. And that's how you do it. So that's it for now. I hope you enjoyed this class. If you liked it, Just give me a review and comment. This will help me design even better courses for you. I hope to see you back here again.