How to Draw a Goblin - Inking and Watercolor it with Daniel Smith Paints

1. Introduction: Welcome folks. It's another IPC, stands for I paint creatures class. We're going to specialize on goblins, what I like to call Gabo. I'm going to basically take you through my process of drawn this Gabo right here, this goblin with a fantasy bird. We're going to mainly focus on drawing goblins. So I'm going to, the first video is a little bit of a drawing lesson and just tell you all the Creature Feature parts and how I break down and how I look at my Gabo, what I add to them and can take you to the drawing process from sketching and conceptualizing to construction. Second video, we're gonna go into inking and inking the process are going to use the watcher black ink set. Then the final video, we're going to break out the Daniel Smith watercolors. I'm going to take you through my process and show you how I bring it to this full color state. Take you through a little bit of how I draw them, construct them from base sketch. Different features I've put in my God bows. My goblins. Then show you how I bring in the form and get the refined drawing in there and then the inky it all up and prepare all the great borders and outlines to hold the fabulous color. Then I will take you into the coloring process. We're basically ink and watercolor work very beautiful together. And this one is done for a game asset. For a storybook. I'm preparing it basically a character and creature designed to be used in a picture book, a storybook, or game asset. As a little character. I'll be exploring a lot of that coming up here. So get your ballpoint pen out, ready for the drawing lesson. Get your watercolors. You necessarily don't have to have Daniel Smith, but I thought I'd teach your Daniel Smith because I used Daniel Smith. I'm from the West Coast states. And so I love using watercolors are some of the most amazing professional watercolors available to all of us artists today. We will get going here. I'll see you over in the next video, which I said is the drawing experience exercise. And then we will go to the inking, and then we will go into the watt color with Daniel Smith. And thank you again for coming along for an eye pink creatures class. I'll see you over in the drawing portion. 2. Drawing Goblin Exercise: Welcome to the drawing exercise or get out your ballpoint pen. Once again, I always liked to draw with ballpoint pen because really makes you draw and it can make marks like a pencil, but it is ink. And so you don't really have that crutch of erasing. A lot of it is a great sketchy too. I'm a big fan of what are called suggestion lines. Basically this one I'm doing right now, I'm not getting the exact perfect circle or oval. I'm just suggesting and finding it. So I'm doing the Walt Disney method of, you know, assembling your face right there. And I just made some oval, some rough sketches. And usually that's what I use to make. Goblins had a godless head. Now I'm sketching noses. So what you want to do is practice your nose is, and of course knows it has a center bulb. You can make it square, you can make a triangle, you make a circular. And then it has what are called the wings, the nostril, the wings. And so I usually put them a little farther back and then I draw basically a bee underneath, it, gets it. There's an example of making it more geometric, more rectangles and squares. You just need to practice them and make as many nodes as you can until you get used to your style, what you like. And now I'm doing eyes and I usually love eyes are just starting with slits because I like to kind of explore and sketch around to get the emotion of the goblin or the character I'm doing. I'm just showing you different examples of different eyes. I liked them to kinda droopy. My style. I love to always include the eyelids I showed. They show a lot emotion. Here I go with the ears and the ears are basically trying rules. Then you see, put the little canal inside of them, that little indent. What I'm writing up here, eventually bringing it into frame, is the four principles that you need to think about in drawing any character or drawing any object that you want to represent something. Illustration. And the one at the top is a proportions. And then pay attention to perspective. When things are in depth, if it's sideways, something things farther away are smaller. The ancient to the angles, angles we're all shown in the eyes and they communicate a lot emotions in your character. And then a corporate portion like where are you placing everything definitely gives the the attitude and the mood of the creature. But mainly what I features on a lot when I draw traditional fantasy characters like gaba or call in once again, goblins, gobbles is you feature on the creature features. So you figured out all the different parts. The one I'm going to show you in drawing, I have a couple of other extra creature features like I have a lot of hair around, pretty much a hairy phase and a hairy snout. And then I add a special, like a third guy, what I call a story Stone. And that's specifically the my style and my story. Here's some examples of little extreme abuse and always do a lot of exaggeration. Makes it really cool. So I'm going to show you now how I assemble it. So I'm using those crosshairs. They won't Disney method of placement tells you where to put the eyes and the eyes written across her then a node right in the middle of a cross-hair. Now I'm demonstrating something that's very powerful to add this note on any creature or character. You go right down the eye line, right down here in the eyeliner and over like this. And then it puts it in the proper placement and then the mouth fits right in there and give a lot of room, make the mouth really a snout so it's round and give a lot of room for a lot of expression. So give it a really wide mouth. Then he right here, I always love using markings like you would find on a dog or a cat or a raccoon or I always draw them in form, in contour like I'm demonstrating right now. And so I use the little marks to make a cool-looking, but I also use those marks to show more formed that is very rounded snout. And then right there I hit the bottom of the lip, just the little darkness, little shadows. And so use the bottom of the economy. You can exaggerate that. Walt Disney style and learning too. They always loved and really emphasized lip on the side. So you can do stuff like that. But a lot of it is just having a lot of fun. I always, always hint the cheeks component of cute characters and cheeks are very important. And then there's a little hair tap at a time. It's all up to you after in as soon as you assemble it. And basically always practice contour lines, practice parallel lines, practice shapes. And then that's the simple assembly regimen. There's your Gabo. Don't like to show too much because I want you to be able to draw your own goblins. And I think that's the biggest challenges is not just the fundamentals and the basics of it. I think it's spending a lot of time loving doing what you're doing and finding how you do it. Because you see I use in some of the same methods, changing my shapes a little bit and I get a little bit different of a Gabo. I kind of have them at a three-quarter view, which is a good view to always draw. Because if you can draw the three coordinate, you can draw the straight on. No problem. I'm playing a little bit with the shape of his ears and not exactly pointy. Because gaba is, I think are rooted in basically a lot of animals, bears, wolves, but they're also part of human. And I define a Gabo totally different. Gaba are traditionally known as evil or demonic, but I define them as a goblin is imagined fantasy character creature that went back through its animal routes. And so it's basically a human type, humanoid type creature, but it has features Definitely. From the antimony. You can see I follow pretty much the same thing, but I'm really clear on my features. And you can see every time I change my features, you can add more hair on the face. You can give them a big mustache. Lot of it, I'm a visual storyteller, so a lot of it has to always go with the story. I'm telling an appropriate death, no mistake. There's basically some assembly in my sketchbook, and this is the drawing portion. I will see you over in the next video where we are going to break out at your ink, black ink set and start to ink the Gabo and get it ready to hold luscious, beautiful Daniel Smith watercolors in the final video. See you folks over there. Let this play out a little bit. You can see how when it just starts shading and bringing in a lot of features and why I liked the ballpoint pen again, because I'm shaping the way my God owed. See you over in the portion. 3. Inking: All right, Welcome to the inking portion of how to draw a goblin, a goblet, a basic fantasy. Here's where I have there fine drawing. After I showed you in talking through the drawing exercise, you'll get your refined drawing of everything you like with all the right proportions and perspective, right angles. So basically with the ink, I'm just picking the refined lines and the first process is just to outline it. And I'm using a synthetic brush pen, which is an editor black pen set. And I love them because it's not the synthetic brush tip that has hairs. It actually has a little NTID That is plastic and it's flexible so you can flick it. The kind of flip shading. So you see I just mainly doing allowed the outlines and getting the form and so that the picture is basically fully there. My Gabo is fully articulated in the story pose and he's holding golden orb in my story. And he's sitting there and the fantasy bird the top is flying in the checkout what he's doing and he's enjoying and shelf or in a playful mode. You can see I just keep coming and more than drawing lines, I kinda just touch the paper where I define the lines in my drawing and start just really making the containers to hold the rich color, a lot of hatching. But as you see, I'm now going back to all the little crevices and making sure I have enough thick lines that illustrate the darkness, especially when I'm making them all kind of fuzzy, furry with his mustache and his fuzzy phase. And so those little tip ends is very important to make sure you put the proper shading in given not depth. So when you start putting the watercolor in, those little details, don't get lost in the mix. And you can tell that he's got little fuzzies everywhere. And then the extra feature added, right, of course, under my hand right now is the story Stone. In the third, I kind of dilution. I'm doing the same thing with the bird. The bird printing much was looked at a lot of references and same thing with the Gabo though I basically pay attention to the Creature Features. And probably one of the most prompt for dominant things on a bird like this is getting the wings ray right in the right proportions, right perspective, right angles, right? Right ratios. Because the wings, if they're not the right angles and not the right proportions and the ratios, the size compared to everything else. It look right. I'm using the ink once again to just basically emphasize those refined lines and outline it. And I'm being totally aware and conscious that I'm going to fill it in with a lot of beautiful watercolors. I'm leaving a lot of spaces open. But once again, I'm going back to a lot of those dark tones and shading to make sure a lot of those details deal don't get lost. When I started watercolor. And another feature I've done there is leave the eyes totally wide open because I'm going to use a lot of the watercolor effects and techniques and circling and keeping whitepaper as the highlight. And I use that to make them pop. But at this point I'm just going back once again to allow the shadow areas and making sure I have a lot of depth in those little hairs to show when the watercolor, they make a little containers that will hold the watercolor and we'll emphasize a lot of the rich color I'm gonna put in there. But once again, I'm not really drawn lines. You can see even in the sped up inking, very gently, just touching the page because a lot of the refined lines were done in the drawings. And now I'm just bringing form with shadows and adding enough for the dark tones and dark lines. And it's going pretty fast because it's the speed page. But you can see lot of times I'll lift my hand and I'm observing their lives. I'm looking where I can really punch a lot of blackness in. Once again, makes sure when our water polar those little areas don't get lost in the coloring in the water running all over the place with different values and tones at the watercolor brands. Same with the bird. Certain little features you get lost in a certain form or contacting you get lost in. The illustration will look kind of state. This is probably the most focused part of the inking is going back at the end and observe, analyze, and make sure that those fun little details and not going to get lost in the watercolor. We are to the end of the video. That was a little bit of my video setup to show how I felt. And I'll see you over in the watercolor section. 4. Watercoloring: Welcome to the watercolor portion of this class. As you can see, emphasized a lot in eating video that I was making containers with the ink can basically fill in with the beautiful watercolor. The main watercolor I'm using right here is my specialty palette. It is all taken out of all the tubes. And it is one of the most prolific art supply companies that makes pretty much homemade watercolor. And they do it on a very professional or wide-scale. So I guess it's homemade, but it's made right above me. I'm in Northern California, it's right up there in Oregon. And it is called Daniel Smith and it's one of the most popular watercolor art supplies on the market. And it is professional quality, which means it doesn't have a fading of the colors. Keeps light, what is known as light fast. He keeps its light fast. I forget exactly how many colors they have, but they have this specific. I usually work in a CMYK palette, which is cyan, yellow and magenta and black. But I don't use a lot of black. I'll use like maybe a really dark blue. One of my favorite blues I'm using right now is basically a phthalo blue phthalo or have you say it? And I just loved Daniel Smith because it's very, very saturated, which means a very, very punching in the color. And watercolors that is kind of bold like that. And I liked just punching directly in the color. There's some purple. I'm using an aqua water brush made by Pentel. And there's a lot of these brushes on the market. But this brush right here particularly really lasts a long time if you take care of it. So one of the major roles is to make sure when you put the cap on and make sure there's not a lot of loose phrase on the brush and hanging out and make sure you get all the hairs in there and put it into there. And I always suggest that you use the large one because the large one snaps to a very fine point in pretty much gets into thin lines. A fine 0.1 does, plus it gives you the thickness and the written and the pushing of the brush. So you could do all kinds of watercolor effects. Have lots of pain and they have lots of water. I loved the water brush because it's easy to work in watercolor because you can squeeze it and the water comes out and then dab it on your little paper towel and exchange the colors. So when you switch colors, It's really easy. Lot of Daniel Smith colors really work in tandem if you look at your palate. And so I'm using the phthalo blue and then I'm dipping into some real light green. Not really giving me all the specific color names because I basically have them all loaded in my palette and I spent a lot of time doing that, so definitely could explore that at 1. But you could see that the ink kind of disappears at this point. That's why I was not doing a lot of hats seen in a lot of similarity with the aim because once again, I was anticipating the filename with this rich color of the Daniel Smith. I pretty much work in the color palette. The color wheel and I use colors that are close to each other that will blend in. Another way to do that in watercolor is basically wait for a lot of dry before you start adding some colors that might blend in each other and give you too much darkness. Like that little bit of that yellow orange that I'm using right there. I snuck it in and I thought experience to just be get more precision and lock it in so you don't bleed into that particular blue and make a really dark brown that would've made it too much contrast. Here's where I'm using a classic watercolor technique and using the paper as the white and circling around it. And watercolors, really amazing because it will make a real soft edge around it and faded into that white. And so that's why my orb looks really, really jam like saying with my story stone up here. Here's where in watercolor even Daniel Smith is really incredible water color company. Make sure in your palette, you pick a very, very dark color to punch in at the end. Right there I use like, I think it's a purlin green, which is a very It's very dark green borders on the edge of being a brown sepia. And so it works really nice to punch in that shadow under his legs to really make him pop. I pretty much have them all colored in and headed towards refining it. And really looking at where the watercolors glowing and that's a major factor in watercolor. And a lot of that glow comes from preserving the white of the paper and painting from light to dark. I'm a person once again who really loves desaturated and bring a lot of color to it all. I don't really work a lot of times like this one. I didn't really work light to dark time. I do because I'm punching in the dark stripe now. You can see right now I'm tapping my finger a little bit, so I'm observing a little bit and thinking about what I need to do, what I can do to make the Gabo punch mark. But also was thinking about the different colors that I can combine the bird to make sure all of the features of the bird punched because the bird has a lot of details and it can get really small like that and too much watercolor running into each other. Not illustrates some of the forums. And so really easy. Lot of contrast the colors, once again, being really gentle on that part right there because I don't really want that failure to bleed into yellow and give me a green right there. Sometimes you want brother green, but as the times you don't. And so right there, I wanted to clean on the tail feathers, so I just use actually that green and yellow on there and lot to cover. So amazing because it just blends so naturally and specially when you use the water brush. And a lot of the trick for using the water brush. And usually really professional watercolors is a lot of time of u and join a. It just do blend paper sheets and experiment with the colors and which ones won't blend in which others, which ones won't make too dark, which don't get along. And then also the biggest thing is the water to paint ratio. That's probably one of the biggest things to be thinking about is the water to paint ratio. And that all comes with time and basically really enjoying what you're doing. This portion right here. Private probably have stopped to basically look at my palette, look at the different colors I have to use. And then of course, observe way I can make sure those wings don't get lost in all the finite details, a little tiny details of the wings and stuff. And then I probably is also waiting for it to dry to give you a little moment to dry so I can get into those little nooks and crannies and make it so basically, they're still articulated and illustrative and you can see them in sometimes you've got to really make sure it's dry otherwise, the water will start running all over the place and you'll get colors that you specifically didn't define and becomes a mess. Lot of watercolors is the enjoyment of it and the patients of it and going at a pace that allows you to really get a grasp how you ought to color. And because the key to watercolor is keeping that highlight from the paper and then keeping your colors fresh and vibrant and not having the water run them together too much, unless that's the style you're looking for. And a lot of nature drawings could do that, but a lot of fantasy joins. I don't specifically spend a lot of time figuring out where the light is. The light is everywhere, It's just punching everything because I basically have story features again, inside decided to do a sunset or fire bursts and orange. You can see I've moved a little bit slower here just to make sure that I'm not blending into and then I can get too muddy in details. These third, punching in enough opposite colors, you know, from the blues to those reds and oranges and not letting them bleed too much into dark purple, kind of a brownish purple. Then you notice on the Gabo, I will spend a lot of time leaving the last features, the ones I want you to look at. I can look at the overall painting and that's why I do the eyes. The eyes I'm actually doing with an ink pen and make it purple. B's in the estuary color brush pen. Doing basically the method that basically as a watercolor technique, we see basically it's real suddenly and gently saving that little highlight in the middle of the eye and then making sure the corners are really dark. But that pretty much is the Gabo incomplete. And I appreciate you all watching this class, you some feedback. Anything you'd like to see in the future. Any more details and if I can get more in there, but I really promote inspiration and influencing you to do your own thing and create some magical art that comes out of your imagination. There are fundamentals and then our basis is to learn. But a lot of that is you got to love what you're doing. So I always like to call these art ventures. So make sure every time you do this or you come along for the ride and the classes with me that you are successful, that you create something that you're proud of even if it's simpler and you didn't have to go back and be a little simpler. And of course, go out and get some Daniel Smith, but you are not required. This is mainly a water color, but you will see the difference as you get better and better and better and love what you're doing at then this is your friend. So thank you very much for watching the course and I'll see you guys real, real soon. Come back here.