How to draw CARTOONY HUMANS | Maria Avramova | Skillshare

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

Watch this class and thousands more

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

Lessons in This Class

    • 1.



    • 2.

      The proportions of the Male body and how to make them cartoony


    • 3.

      Polishing The Drawings and Adding costumes and other features to the design


    • 4.

      Draw unidentified shapes


    • 5.

      Draw a character in Profile


    • 6.

      Draw a character from a squarelike shape


    • 7.

      Designing a more stylized character


    • 8.

      Design characters that come from the same world


    • 9.

      Designing a HERO


    • 10.

      Designing a Hero - Part 2


    • 11.

      Designing a Hero - Part 3


    • 12.

      Designing a Hero - Part 4, Defining the character


    • 13.

      Designing a Hero - Part 5, A different approach to a heroic character


    • 14.

      Designing a Hero - Part 6, A different type of Hero


    • 15.

      Bonus- Drawing Facial Features of a Hero


    • 16.

      Bonus- Draw a Cartoony Male Face of a Hero


    • 17.

      Bonus- Experiment with Facial Proportions to design different heroic characters


    • 18.

      Designing a Villain - Part 1


    • 19.

      Designing a Villain - Part 2


    • 20.

      Designing a Villain - Part 3


    • 21.

      Designing a Villain - Part 4


    • 22.

      Designing a Villain - Part 5


    • 23.

      Designing a Villain - Part 6


    • 24.

      Draw basic shapes


    • 25.

      Make a character sheet out of a design of your choice


    • 26.

      Female proportions - Part 1, What are the female proportions


    • 27.

      Female Proportions - Part 2, How to stylize the female proportions


    • 28.

      Female Proportions - Part 3, How to simplify the design


    • 29.

      Designing a Heroine - what to think about


    • 30.

      Designing a Heroine - Defining the Character


    • 31.

      How to draw simple poses


    • 32.

      Refining the "Stick figure" drawings into nice shapes


    • 33.

      Refining the poses of your Character Sheet


    • 34.

      Using the character's different emotions to refine her design


    • 35.

      Put your character in motion


    • 36.

      Facial Expressions - happy and sad


    • 37.

      Facial Expressions - Sneaky, Scared and Content


    • 38.

      Refining the Facial Expressions


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About This Class

Have you ever dreaded the art class, but not because you hate drawing, but because you love it so much and you feel that you can not meet your own expectations? Not only that. You´ve had your childish dream alive to become an illustrator, but you find that drawing humans and even cartoony humans, is the hardest thing of all.

I hear you. I was just like you. But now, after 17 years of a successful career in the animation and illustration industry, I have discovered that the problem is not in your hand or whether you have a talent or not, but it´s in your mind. Yes, you read correctly. Even you can draw and become a brilliant artist if you have the right approach.

And that´s what I´m going to show you here. This exclusive offer with change the way you think and therefore the way you draw once and for all.

So what will you learn in this course:

- You will learn what are male and female proportions

- What makes a human look cartoony

- How to approach cartooning depending on the outcome you are desiring

- How to use shapes and shadows to design cartoony humans

- How to evolve your character from being a generic human to being a specific character with a personality

- What is an Archetype and why is it important to know when you work with cartoony humans

- Different types of Evil and Good characters, how to draw a Hero and a Villain

- How proportions change the way we perceive characters

- How to dress your characters - why are costumes important

- How to brainstorm with simple shapes and how to find the characters suggested by your subconscious mind

- How to bring your character to life - creating a Character Sheet

- How to put emotions to your character

This and much more you will find in this course, as well as I, will share with you some insights from the kitchen of an illustrator and an animator while I guide you, step by step to exploring your own creativity, finding your own style, and become the artist you´ve always dreamed of.

I hope to see you on the other side of this course.

Meet Your Teacher

Teacher Profile Image

Maria Avramova



I am a character design, film director, animator, and illustrator.


I have worked in the animation industry for over 15 years, bringing characters to life. I have worked with clients such as McDonald's and Ericsson to create top-notch 3D animated characters for their commercials.


I´ve had the privilege to direct actors such as Sir Roger Moore and Peter Stormare among all, as voice actors for animated movies. I´ve worked with renowned illustrators and screenwriters such as Iain McCaig, the legendary designer from Star Wars, to breathe life into stories and characters.


The TV-show I´ve recently written and directed, called Space Yoghurt, is having a worldwide success and has been featured twice in t... See full profile

Level: Beginner

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1. Introduction: Have you ever dreamed of Troy, a coup Spider-Man, or a pretty princess of reaffirm an evil magician. G1 and go from this to this, or from this to this. It seems impossible, right? While not really drawing humans is a hard thing. Drawing cartoony humans might be even harder. But I'm going to tell you, everyone can do it. Yes, even you. I have had a long experience in animated movies. I am also a designer, illustrator, and animator. From my years of experience, I have learned that there are certain techniques and certain ways of drawing a test makes you succeed every time. Well, here is an exclusive package that offers you all dot with a click of a button. So what are you going to learn here? I'm going to show you what our female and male proportions and how to tweak them to make you human character look cartoony. I'm going to show you different ways of cartooning a character. How you can work from simple shapes and simple shadows to decide you cartoony character. But not only that, you will learn what kids are design a character, how to make good or evil characters. But also, you will learn how to put emotions, two characters, how to make them come to life. This and much more. I'm offering you here in this exclusive package. 2. The proportions of the Male body and how to make them cartoony: Hi there. Let me start this lecture about how to draw cartoony humans. Bob, by defining what makes a human looks cartoony. At first, we need to know how a human looks like and the human proportions and atomical proportions when they are anatomically correct. So I'm going to start from the male chapter. And let's draw the hand here of a male character. And one rule of thumb is, which is a general rule of thumb, is that the head of a male character apply seven times, only his body approximately. So if we measure the head like that, we started applying in seven times. The first time. It comes in the middle of the chest. The second time becomes a little bit on the waist. The third time, 123, is approximately where the lex dot and cropped. Though. The fourth time is in the middle of the ties. The fifth time is about the niece. And then the 6 times is about the cults. And the seventh time is where the feet are. So if we are too rough, ER, rough out this male chapter. Let's have a line going from the top through all these points. And this is the middle of all character, just a straight line. And let's see. Let's find the symmetry of this male on each side and the way we've named it. So this is the middle of approximately the chest and the male has brought broad shoulders. And this is approximately where the waste years and this is where cropped is. So from here, we'll start the legs. And the male character has compared to the female character and a narrower heap area, comparison to the shoulder area, which is much larger. And now we have the ties here. The male has a Braille ties and the forthcoming in the middle of the ties. And here we have the nice and here we have the calfs. Let's draw the other leg. Here in the middle. And let's have the NI here for the other leg. And we'll have the cows here approximately. And here we'll have the feet. So we'll have the ankles approximately here. So and the feet over here. So let's have the toe here as a definition of where the legs are. So this is approximately the proportions of a male body is the general generic principle. Of course, they're shorter and longer bodies. But we want to generalize here to see what makes a character look cartoony. So let's define the arms. And the arms are, the elbows meet approximately of the middle of them. And the waste or waste is, and the upper part of the arms is exactly the same as the law part. And also if the hands are straight up, then there will be in the middle of the ties. So we have the arms here and he's hands very schematically. They'll be in the middle of the ties now maybe a little bit higher up because she got pretty long. Theists just approximately over here. And let's draw the other arm. It's going to be like that if it's a straight down. So this one, so the arms will be approximately here. And this is something. So when you have a teenager voice, for example, they're on some disproportionately large still end day which may be up to here. They alone and growing cell does when they become a little bit disproportional. What I'll talk about this later on. But as a general rule of thumb, this is our male character of an anatomically correct with them anatomically correct features. Now, what would happen if we generalize this male features and simplify them? Let's say, let's called the male features, as we mentioned them before, a male has broad shoulders, smaller hips, stronger legs, and stronger arms. Now let's design a character. With exaggerating just the features I mentioned. So let's have his, his head being the same size as the size on this character. And let's just general life by giving our character disproportionately large, large shoulders. And just make it very schematically. And use just this simplification and definitions of what makes a male character looks masculine. So loud shoulders, small hips. Generalize it and exaggerate them. Small hips. And what makes something looks large? Let's just make the middle line now this character. So what makes something looks large or small? It's always in proportion with something else. So let's have his legs being much shorter than this character. Just so we have the disproportions. The definitions of this male character, having his hips look small and his shoulders little disproportionately large, which we'll just we'll just exaggerate the legs being bulky and much, much smaller than these character. You see why the disproportions now come into place here. And we'll give him also the cows. Being also small and this proportionate to the rest of his body. And we can also generalize that and simplify that as well. And let's give him a larger feet just to make the colors look shorter and in proportion. Let's make them. The body looks much larger. And let's give him the arms and being proportionate in the way to the large body. But this proportionate according to the anatomy correct feature. And now you see that we have already this character that is just a symbol of what a male is. And without adding any other features, diff character looks already as if it could be unlike our design, the features of a design of a cartoony character. So what a cartoony character is, is generalization of certain features, of a certain, and proportions of certain character, of certain photorealistic features. To make it look like. It is a symbolic, symbolic. Presentation of the gender. And this can get done in many ways. But you see that with the simple shapes here, we do have a male character that is exaggerated. It didn't his features of what a male or represents. And let's make his chest bulges. And this is something that can be a superhero in the animated movie. To exaggerate these features even more, we can make his hair, his head, even smaller, again, because we want to make the main features, The basically the upper body very, very, appear very big. So we can have his head being even smaller to exaggerate the features of this party, of his upper body. So we'll just minimize where the eyes will be here and we will give him also a stronger jaw. We will not focus now on the face. But just this small adjustment of a human body, of a male body is becoming a cartoony feature of a male character. Basically kind of like a caricature. And if we dress this character, Let's dress him as a warrior. And let's have, give you maybe a costume, a warrior kind of costume. Maybe a big skin. Like fluffy came here. And we'll have some kind of costume that is a shirt here. Like a warrior kind of shirt roughly. And let's put some trousers on him. And let's put some books on this shape. Just defining better. And we see that. And let's give him a belt. And we see that digital small adjustments. And, and we have a representation of a male character with exaggerated features. And with the armor in place. He is already not looking photorealistic. We can use this principle and create simplification of a male character. Or we don't use these features if we add characteristics that are not only what milk butter represents, but if we say we want to make a guy who is a clerk and what a clerk represents besides the male features and being brought together. A clerk is someone not known to be a well-trained, for example. So it will have the definition of a clerk being, for example, a skinny male. So what could we do to enhance these teachers and simplify? We can make, for example, a body that is rather lean and water clock represents is a costume. So let's have a costume that is very large. And we have a straight body which can represent the stiffness of a representation. Or does someone of a water clock is and a costume. And if we want to just add that a quirky some more, working in the office is not exercising and has a rather boring wife, which is just a simplification of what that is. But we do need to have a general idea of someone that we want to have a cartoon, cartoon of. This will help us design the features. So we'll just simplify all this features of a male even more than we have in the photo realistic, photorealistic male wealth we can live is some features that some proportions that are proportionate to the anatomically correct proportions like for example, we can have the arms and up in the weight at the waistline of the clerk. And we can have cheese, lower arms continued lower down. And his arms maybe finish at almost the middle line of the ties here. This is anatomically correct feature. So a slight anatomical correct features that we add to our character will add some proportion and some unbelievable features that will accept this character as being real and not, and not just a cartoony character. So if you work just with generalization of these characters and c not and how we can make his face. His face can be also enlarged, not proportionate to the body, as here we say that the face is supplying seven times. You don't have to keep that. You can have a longer phase as a caricature of water clerk represents for you, or what you want the clock to represent for your movie or for your book. And you can have, if Ashdod, exaggerated and disproportionately likely can have his eyes being higher up and the ears being higher up. You can add a larger, a larger chin area. Along those. You can even add some glasses here. And the eyes. And you can have the hair also stylized. You can make the nose bigger or you can make it more. You can play with the features just to get our representation of what this character is for you, what you want this character to symbolize. And here we have a completely this proportionate character to what, to what anatomically correct character represents. But it's still a simplification. And we have a cartooning alpha male features. 3. Polishing The Drawings and Adding costumes and other features to the design: Now, now let's just draw these features with the black pencil on top of that. And I've talked about using the pencil before, we use the black pencil. And why, why we do that is because what will stop us from drawing is or fear of making a mistake or fear of doing it the wrong way. And when we start drawing with a black pencil, what we wanna do is we want to make a clean drawing. And I'm a so-called nice drawing from the get-go, which stops us from exploring the features and the character. So drawing with a pencil and not using an eraser is basically getting rid of your safety net. That for you to try to draw so-called clean drawings. Because clean drawing is not what you need to do when you start drawing. What you need to do is finding the proportions, the character you need to explore basically, before you try to make the clean drawings. But because after all, you want to have a reward for your effort and you want to see some kind of a completion like you're drawing. Can do that when you draw with a blue pencil and you've drawn pretty rough drawings, you can do that later on and define your character with a black pencil. And still be rough and still be free to correct the pencil, the drawing with the blue pencil on top of that. But still feel that you have you have done a complete drawing that is clean and that gives you a justification or and satisfaction of having done a character that is defined and has clean, dark features. So just draw, draw it on top of the character. And define who this character is. After. You've drawn it. Where the, the blue pencil, without a lot of hesitation and without being too precautious of making mistakes. If you want. You can even start designing the costume. But also when you generalize, you don't have to be, you don't have to follow a photorealistic, anatomically correct features. For example, the legs. As you see here, the male has defined forums, counter ties and curvature around the nice. But here the legs are straight, straight lines and you don't, you don't need to follow anatomical, anatomically correct features. But you can generalize and simplify your character. There are many different design styles. And you can go from more realistic features. Or anatomically correct features, like we did with his character. But also, you can generalize and simplify as much as you want. The thing is that there are no specific rules in cartooning, but there were a way to balance out the character, for example. And you will find this out when you find your own style. How to balance out your character, not the character looks good. For example, how long you will make the hands, the arms, in proportions to the hand, to the head. So the balance is always about within the character's proportions. It has nothing to do with the realistic proportions, but always a proportion in response to other parts of the body. So if, if I want to make, for example, a more realistic character, I might bring this body part up a little more. But for now, I feel that this guy is proportionate. Ford is designed for his character because, because of the head, if I've done a smaller head, that ends up, up to here, for example, that will have been maybe a little bit disproportional for justice character because it will, the body will have overwhelmed the head. But now I can leave it like that. I can even define this character that with the black pencil and make him a little bit more cartoony. So I will add a more around the eyes to him to give him a more cartoony look, but still keep his proportions, rather fortune realistic. And what makes character cartoony is definitely giving him around the eyes and more exaggerated facial features. And so I'll keep his, his head being square and being more masculine. Which means that he will have defined cheekbones. But maybe I will also extend his jaw a little bit more. And just having the round eyes gave him a more cartoony look altogether. And I will have his hair being even higher up. I'll give him small ears. And you can always experiment without, with different shapes and different characters. And you can give him smaller head, larger hand, bigger body, smaller body in proportions. You can play with this features altogether. It's just as long as you stray away from what is known to be photo realistic character. Because the more you exaggerate some features, the more cartoony character will look like. And we have his jacket here. As a soldier or some kind of a Viking. Maybe. This is something that you have to define depending on what you're working on and depending on your movie and why you're wanting to make cartoony characters, you can explore all kinds of features and costumes. This is also a fun part of it. That giving your character costumes and personalities, depending on what they dress. What, what we dress, how we, how our style is, is a signal to the outer world of something, of how we define ourselves. What is our statement for the world. So even though we have this saying, don't judge, don't judge a book by its cover. That is exactly what we do to edge, but we do judge, people were books by their covers. And this is a normal human behavior because we all brain needs to categorize. As soon as we see something, we need to know whether this is dangerous for us, whether we should be alert or not. So we generalize a lot, and this is something important in character design as well. Because we need to create a generic features are the archetype. And I'll talk about the archetype in the next lectures. And why it's important to know what kind of what archetype is and how to design Aquatabs. Because when you design cartoony characters, we tend to, to decide from the get-go, from the look of the design, who this character is and how it will behave. That's why we play symbols or designed features in the character that will lead us and lead or audience to expect certain behavior or expect a certain type of character when we designed that. And the thing is that if we have, for example, a book or if we have a story behind our character design. This, we can surprise or viewers by designing the archetype being in a certain way and then having this character change that the character behaves a completely different way as a part of our story. But this is the first lecture about generalization of an anatomically correct male features and how to exaggerate them to turn them into cartoony characters. So let's go further with the next lecture. 4. Draw unidentified shapes: Welcome back. Now, let's do this exercise first to give you more scope and to set you free to design your own cartoony characters. This time, instead of using just a round shapes as they did in previous lecture, multimode guide for drawing cartoony characters. I'm going to use shadows. So you know, you start with just doing a random shapes, shades. I do not think too much. Just randomize them doing like a blob here or a more thin save here. Run the minds them. Let's do another one. Let's do a short one, a really short one. And I'm more kinda of a square shape. Just randomly and tilt the pencil in that way so you don't draw it. Don't try to draw like this one to try to find some for just till that a little bit. Hold a free. This is just an exercise. You can save these drawings that for later on to see your progress of what you're doing. And you see that you will have immediate progress almost. I'm in a day to see like how you have improved dust. Let's make maybe a longer won, a larger one. And let's make some shapes that are two shapes. Settles. Just have a smaller shape on the top and another one and below. Now we are not going to follow any proportions that I talked about this time. Don't think about the proportions yet. Just follow that exercise and using shapes. Now let's stop here. And let's start working with these shapes. So when you have your shapes, just try completely randomly to find their head, to find a body, and to find a feat in this amine probably will see this is impossible, is just like do those. But as soon as you start, you will see that you have cartoony character in this shadows. So let's try, for example, this one. For example, if we have, if we tried to find a half here, let's say this is his head. And well, you will say I don't have any place for feet or arms. You remember how we extend that the proportions of a force realistic character you can place, you can extend any kind of proportions of a human body. And you can, you can keep proportionate some aspects of the body. Like for example, let's say we have a body over here. But let's assume that his arms are proportionate or according to what proportion is that? His arms are ending to where the middle of the tie. So let's have his disguise. Lex here. And let's assume that his arms are proportionate according to our realistic proportions. So they will just end in the middle of the tie like that, like here. And the rest will be legs. And of course, the other proportions are, have nothing to do with Orientalism. And we have a very small field like over here. And let's, let's define this character to see what we've got. Let's have him have some costumes and quotes. And he's head of this li. And also let's find the middle point where a character is having his symmetry from that middle points. So 22 eyes, the symmetry of the nose and so on. And let's assume that his eyes are over here. Now, you, you can place your, the eyes of this character, any character wherever you, wherever you like, and start building up your character from there. Again to draw cartoony characters. This is about exaggeration. Now, I'm going to draw the ears anatomically correct, which means that the ER stars where the eyes, the eyebrows are, the ISR. And I'm going to place the nozzle here and the eyebrows. And I'm going to just make the nose and all the features actually being more stylized. And I'm going to have his eyes like that. I'm completely randomizing this character. There is no principles. I'm just playing around and just have him in any turns out to be just an old character on an old guy. I have no idea that was going to be this character when I start drawing these shapes and have his costume over here. And because she is crushed like that over here, it looks like keys bodies leaned forward. And thus why it enhances his his age that he's an old guy. Now let's take the black pencil and trace this guy and add some more details to this character. So we'll draw some fingers, the nose, and the eyebrows like that. And he has direct tired eyes, the ears. And maybe now he doesn't have any hair, but let's add some hair here. So it's going to enhance the characters age and who the character is. And also we can give him some wrinkles on, on the forehead. Because now we can see what we have, what we have here as a character. We can add specifics to the character to make him more interesting. And here is the other. So you see how the proportions we've got that the only proportions that are anatomically correct is that the R is ending at the middle of the ties. And we have that, which means that according to how the arms are, the legs are somewhat proportionally correct to the arms. But nothing else is, everything else is exaggerated. And then if you give him a costume, the costume as well will fit just this body. The costumer will not be according to a photorealistic costume that will fit this specific characters body. And from n Now we have our first cartoony character. 5. Draw a character in Profile: Now let's see what kind of characters we got over year. So let's continue with this shape. What do we got here? Let's see if this is, this character is going to look front or it's going to have some kind of a silhouette. In my vision. I can see some kind of a nose over here. This may not be the same for you. And because there is no right and wrong. And again, we're drawing only male characters in this lecture. In the next section, I'm going to show you how to draw a female cartoony characters. Now, I see that this is a mouse. So I'm going to extend that. And this time I'm going to make this character having these belly from the side, just round the big belly. And again, he's going to have short legs, but not the same shape as the legs over a year. And he's going to have a more like a monster angular legs. And here I'm going to be able to see even the other leg from here. And you see how drawing with a blue pencil give you so much freedom. And don't allow you to really draw precise shapes. So you get the shape pretty quickly. Instead of if you've tried to, to draw clean line, that would have taken you longer time. So let's make the arms up this character, very small. So this character will not follow the principles that we have over here where the arms are stretched. Next to the middle of the nice. There will be just very short arms and then we'll just and more thick arms. And then we'll just end. I will give them some kind of a pose. This is his hand over here. So there have been more chunking or bulk arms. So who is this character now that we've got here? Doing this exercise, you can find characters that you've never thought of, that because you don't plan this character to appear. This is just a nice approach when you want to warm up, when you want to start to free yourself drawing for drawing. Characters where you have, you have been stuck or you're a beginner. Later on, I'm going to show you how to consciously make a specific character for your needs. So I'm going to have the eyes of this character being more bounty. And his lips are over here. So I'm going to make a more cartoony kind of eyes. So he had this big eyes, some kind of all guy character, a dude. And I'm going to make his ears also run large. And maybe now he looks to me like a construction worker. Well, of course, we're going to talk about archetypes. You need to give some kind of a judgment took your character because animation is about exaggeration. To be able to exaggerate, you need to call this guy looks like this or this guy look like that. Because people, even though we say we're not prejudice, we do categorize or brain categorize everything we see. So we don't have to think too much about, about what we see and what we do. We need to make quick decisions. For example, if we are in a dangerous situation, our review and social situation or brain categorize later on we might change this perception. But for animation and for character design, you need to have this kind of perception, this kind of categorization, as I've said, like it looks like a construction builder because now I can map features that construction builders What have, I cannot, for example, I had on this character that is more above or all sports guy. So and I can design, I can give him features that specific people would have where my viewers would immediately say, oh, okay, this is a construction builder and you will have certain expectations how this person will react, where this person leaves and modest person do. Then you construct your viewers or your audience by just doing exactly the opposite. Like this character is definitely not doing this, these kind of things. And this is a part of a storytelling technique that you can use later on. But for the sake of it, we are going to get categorized. So this is another character that we did here. Now let's outline him and give him some more features. We can go, we can be now specific with with details at that stage because we have our character. He has this large nose and bulgy eyes. Again, there is no right and wrong. And you can take the principles of my previous lecture and you can draw only with round shapes if that is easier for you. Or you can just find the shapes as you go along. There is no right and wrong in doing that. And that's why I want to show you how easy it is and how achievability is if you want to draw cartoony characters and how just using this approach, you can get a head of a view drawing process with so many years ahead then what you have been. So it looks like he has this kind of polo polo shirt. So let's let's do that. Give him, give some features to his clothing. It will just give him more character. Now, this is probably something that his mom or his wife has given him and he's always going without without t-shirt or without follow. Just keeps later on specific to those characters. Now this is our next character just designed out of the shape. Let's find out who is hiding behind to this shapes. 6. Draw a character from a squarelike shape: So this is an interesting shape we've got here. And you'll see like this is random so we can skip it. But actually this kind of shapes are very interesting of what you can, what you can make with them. So let's take to challenge and see what kind of character we have here. Now, let's play with the other shapes just for the fun sake and make his legs really, really small. So let's say we have his legs over here and just draw another shape on top of that just to mark the legs. And just really tiny feet and the head B. Now let's make He's, he's had like taking up all of his body. Just let's let's have it round instead and just see what's, what character you get. And let's find the middle line. So what else would we do if we have these tiny little legs? Let's also give him a very tiny arms. And the arms will be stretching all the way to the ground. Now, it doesn't matter that you, you don't follow exactly the shadow shape. Again, I'm telling you there are no rules. Is just, just did playful in this first stage of your character creation. And the arms. And the hands would be really, really small. So you can have his shoes being maybe a little bit of high heels. So, uh, so who is this character having, having this shape? And let's give him a really small ice. Very small eyes, large face, short, body, and the eyes are a little bit away from each other. So that's why we are going to make his eyebrows higher up. And he'll have his pupils looking at us like that, a really cute kind of character. And he's going to have a hair. A little, a little boy who looks a little bit like a school boy and has this neat hair. So now what we've designed, that what kind of features we can give him. Okay, he is perhaps. I'm nerd. Again, I'm generalizing here. If you watch South Park, you'll see that there are specific characters there that have certain look is because they want us to recognize them that this character study a lot and we have a little nulls. And we'll have him smiling. And now maybe let's make him, make a large mouth and big ears. And let's open, open his mouth. Actually opened his mouth a little bit and have his teeth showing. And something characteristic to make as how the archetype of boys, when they studies like me, give him some bracelets. Right now it has become a trend. It's become pretty to haven't. But before it has signified as specific characteristic for some children, teenagers. And we have him tiny little feet and tiny arm. And now, what kind of clothes would he get? Whether we give him here would have school clothes. So maybe a t-shirt. Now it doesn't matter that we don't see he's make we can see, still give him a T-shirt. That goals like about. This is you to decide how you want the body to onto work to move. So this is already occur, a nice, nice-looking character. Now let's outline it and see what we've got and just add some more details to it. We can have the hair maybe more defined as some characteristic of this character. The eyebrows. And specify the eyes a little more. And let's define the mouth and also the tif with the bracelets. Now, you can also put this in an editing program, in, in Photoshop or whatever drawing program you're using and color it. You can color it with pencils or, but for this sake, if you drew it, if the duties characters like that, you will have to probably a redraw them cleaner. So, so you don't you don't have your drawing if you want to finalize it, you would like to have better outlines. And then you can use an eraser and define the shapes of these character. Now, let's give him some freckles. It's kind of cute. And define the T-shirts like data here and his arms. And now we have his tiny little hand. And this one, and use legs. And here we go. We have three cartoony characters that are completely different in style. They're completely different characters. And we've got them only by using these shapes. And you see how we have three shapes left. And what kind of characters are the hidden in there? Just doing this exercise. It's just also leaves you with a little bit of all of surprise because you never know what characters you get there. And sometimes just doing these characters will inspire a story new or a book or short film. And you can take it further on. Or you can just continue doing exercises and just learn how to draw cartoony characters. Now, let's move on to the next more bigger character over here. 7. Designing a more stylized character: So who is this guy? Now? Let's have some kind of bulky kind of type. So let's do something that we did in previous lecture and have his body being way too large and he's had way too small. Just define the head over here and the body over here. And let's have his legs being this triangular shape. And his arms. And just stretching, maybe not reaching out to much to the middle of the ties. Let's keep them small. Justs just work with the contrast and shape it up, maybe with other shapes when you start new character and he used the shapes whenever you need it. Don't be afraid to continue using these shadows and shapes because you will see the character very soon. This is like working with sculpture. Like you're finding the character out of stone. You know, the, the, the big sculptures like Michelangelo. He used to say that he already sees the sculpture within stone and it's the mother of many, many hours of work just to take it out of there. So when you once start drawing and start fixing the shapes, you, you will actually see your character in there. And if you want to, if you have problem with the symmetry like where the arms are, just, just do these shapes to find, to find actually where, where the position of the arms are like, for example, this one here and what the legs are. Continue doodling and continue to define one step after the other and building and taking out the character out of this Laurent is shape. And so now we have this large character. And let's find his features. And that's the middle line over here. And let's give him a very big, big neck. And we can make his head even smaller as now as we draw. And we have the eyes over here and the nose. This is going to be a strong character, a warrior kind of character where dramatic features and he can even have a more realistic kind of face. But enormous feature, if you are doing, for example, are more artistic film. And you still want to keep a realistic features our character. This is a way also to do it to not be too cartoony. Just find the face more like shapes over here. And let's mark the arms, the thumb. And it will be much more clean of a design. We can have. In the way of the realistic, the anatomical correct things. They can come here and there. This will enhance, enhance the disproportion of your character. If sometimes you have like, for example, like mountain, nice here. So there is like and not to me, even in the cartoonist of the character, this will enhance the disproportion of your character. So and the thing is, if you're an animator, the more disproportion that your character is, the more cartoony, the more forgiving your animation will be. Because we are used to watch people moving in, Go and walking all the time. And our brain connects the dots much quicker than if you have a cartoony character that is completely other shape than what we're used to see. Then, or a brain is, it just accepts that this character is walking as it does. While if you make a photorealistic character walk, your brain will. Marks like this is not really correct. This character is not working, walking well. So if you make, if you make a design more photo-realistic for your, for example, short film, animated short film. You have to be more precise with your animation while you do this character, you'll team, you are forgiven if you are doing your own kind of taken. So this turns to be kind of more of a photo-realistic, even darker to10 photorealistic take on these character of our, of our hero who may be a guy working, working in the words chopping wood or warrior. And what kind of word is maybe a Viking kind of worry. You can define the features now that you have the character and you saw it aligns, we have created another brand new character. Now let's define him with a black pencil. He has more features, are realistic, but it's still not photo-realistic. There's still more chunky, more exaggerated. So there's so many levels of making your character cartoony and designing your character. And nothing is actually wrong. There's no wrong way of designing your cartoony characters. The one thing though, that you can find it difficult in the beginning is that you're too afraid to take the risks of making new character interesting. We have built a preconception of different characters and we always copy some texts like for example, the characters we've seen a lot like Disney character. So we've seen something when we were young, we were, when we were kids. And we are like this character o, you learn to draw something specifically. And we just do that. And we never tried to stretch ourselves and to make something new and something different. And in the end, in, if you, if you are afraid of doing something, this will show in your design in on the weak lines. Afraid lines show even though you would say this is mumbo jumbo. And believe me, it's something that shows that and that you haven't been brave enough to take the step and expand your knowledge, extend yourself and, and there to make some new character. 8. Design characters that come from the same world: So we have two more characters to complete. And now we have a shape over here that we've defined the head in advance. And let's see who these characters are. Now, let me show you something else that I'm going to synchronize this character to talk to each other. This is also another fun thing to do when you design the characters and actually trying to design these characters beam from the same world. So if you see over here, all these characters are looking as if they are from different worlds. They don't belong to the same movie. So to say. They are very, very different from each others because of the features they have and how they are presented, like the proportions, how they're presented. But these two, I'm going to do that feature so it looks like as if they belong to the same world. So let's define this character and this one. So now that I've drawn one around face, it means that I will need to draw the faces of these characters around. Because what makes a character look like they belong to the same world is how we draw their features and their proportions. So obviously, if you draw a square face, all the characters need to have a similar kind of features or it is faced needs to be square. So these are going to be round. And so this character has a large face obviously. And I'm going to give him very shortly body. And this one will have a longer body and thicker body. So it's going to be a more chunky kind of character, while this one is going to have a short body and a long legs. So let me define the body over here. And I'm going to make his legs tiny or a long legs. We legal body. And I want you also see his neck over here. And this one is going to be more junky, a kind of character, so large body, but still a more rounded shape. And he is going to have a shorter legs and long RS. So. We could have made the arms shorter, but let's, let's play with this feature and give him a long arms and see who we have here. And then we'll look at each other as steep a day are communicating just for the fun of it, to show that they are from the same world. So let's find the middle line here. They're looking at each other and continue to work with who these characters are. Here we have the body of this one. He has a large shirt or something. And this one has Let's have his pants just going in the middle of the waste or here and and have him also have a long, long arms. This will give the perception also that the characters are from the same, from the same world, even though they are different characters. And what will signify the likeness of this character is that I'm going to draw somewhat proportionate legs and anatomically correct legs, even though they're exaggerated. I am going to make the, for example, the shoes and some features of this character looking as if there are anatomically correct. So again, I'm starting just doing the shapes of these features. I have no, I have no idea that these are going to be the shoes as you see. I'm just going along with what I get and just how the character presents to me. And he's going to have shorter trousers. Let's give him a belt of here. So who is this character having a belt, having a large face. We almost don't see his neck. While maybe he's a funny kind of Superman. He wants to be, he goes in the, in these types. So let's do that. Let's have a funny character who wants to be a superman and have him go with this ties. But he is actually just a goofy, goofy little man who wishes to be a Superman. So I'm going to design his features to be somewhat realistic. So just as I talk to you, intelligence in the last lecture, just work with a round shapes and find the features. I'll have the mouth over here. And I'm going to. Have his arms hanging and here are his eyes. Just make him look a really funny, kind of irregular kind of Joe guy. But who dresses as a Superman, isn't that interesting? I mean, it is to me anyway. So having these large arms going down almost to the ground. And who is he scene? He's seen maybe his sum. This old guy. Or does it have to be alone, God, and let's see what we've got. So to match the design, the features of this character needs also to be somewhat and atomically correct. So it means that he needs to have somewhat realistic features even though if they are disproportion at. So let's give him these big eyes because this one has this run around eyes. Let's have him have him have VG years. Maybe their workmates and they're in the office. And the ones that are what, what are you doing? Man? What is this costume? And he's like, Hey man, I'm, you know, I'm Superman. And the other one all No, you're not. You know, you can, you can come up with this dial dialogues for, for yourself while you're drawing. And this will enhance your drawing to be better because you know what they're talking about and it's a part of their character. When you drawing cartoony drawings, you're going to be draw characters. So let's have this guy also have photorealistic shoes, kind of like anatomically correct. But let's have him have a large, large shoes. And let's have him point, maybe top. This dialogue. I have a seam in my head up what I see. So this guy will have somewhat proportionate arms and answers like, what are you doing? What is it? It's like Harman, I'm a Superman. Let's, let's define them to find their features, even para, and to see how they look like. Now on the pencils, we will not be extremely sharp all the time. You can always sharpen your pencil, but Don't be afraid either. Somewhat too thick, because again, the thickness allows you to make mistakes. It gives you a character definition and without having to be too precise. So you will be in surprise in all of what kind of characters you get in here, as I mentioned before. Now, when we started this exercise, you're following me step-by-step doing this without me having any previous preconception or knowledge of webcam of character I would get, I'm just going along with this exercise doing these shapes. So you can see right here in camera, how easy it is to create your own characters and to create cartoony characters. And I hope with this exercise, you will be able to do this on your own. And while you're sitting watching TV or in your commute, just have a block of I'll walk of paper and a pencil, or you can even do that in your iPad or a phone. I mean, the possibility of doing that on your own, on your free time or so to say the time one, when you're commuting, you're not doing anything else. And I promise you, this will improve your skills so much that you will be in all how quickly a you can improve. This is one character and this is, or Superman character. Now, if I draw him the next time it does because we did not know that this is going to be a Superman, the kind of character I would have tossed him in a, in another pose. So he may be is flexing his arm even though he doesn't have any muscles. She flexes his arm just to show that he's strong. He's a Superman. That was going to be even funnier. But just now I drove some of the features of the face as an atomically correct, like the mouth and the nose. You see that the Nazis this proportionate to the head, but it is anatomically correct, knows that will that gives me a similar looked up. These characters look like they come from the same world. They do not belong to any of these other world. And the characters world about they belong from the same world. As a style of design. I'm talking about the style of design. Not about whether this character had the same story or not. It is basically just the design of it. He has some double chain his end. You see that even though the character is disproportionate, according to the photo-realistic kind of features of of the men. The male, as we talked about, he looks completely proportionate for his own body. Because when you design a character, you kind of create also the world to your viewers. And if you convincing enough, if you are, when you get good enough, the viewers will not ask why this character has a small legs. Don't take it as it is, with no questions asked about it. And now he probably doesn't have a complete certain, maybe he has used his trousers just to make the suit as Superman or IV. That doesn't look like a superman too. You just maybe change the dialogue. I mean, we just have that as we went along. What are they saying? So I'm man, what are you wearing? You know, you're not ready for work or we're going to have a meeting, or why haven't you dressed up for this party? And he could say like, Well, my stock, our stock at work or I have important business to do. At this stage, you can, you can adjust the dialogue, the characters. The problem that many have is that they trying to do a perfect character and a perfect drawing already from the first one from scratch. Even though it happens, this is not a room of Tom. Does you have to do that or that people do that? You'll have to do many drawings. So by keeping a playful, this way, by adding a dialogue to it, adding a story to it. You keep yourself interested in the process. And if you are interested, you will be able to stick with it and to do many drawings. And you will find that it's actually pretty addictive in. It is scientifically proven that when we draw, when we do activities like that, or brain goals in so-called flow. It just kind of like a mild, it's a hypnosis where we feel coulomb, we feel in control. Every actually feel better. So even if you don't want to be an artist, it does not use anything. You want only to be able to draw characters. You're already doing very good for yourself. Because this experience of just playfully drawing characters from shapes, it keeps you brain in the state of flow, in the state of peace. And meditation is a form of meditation. So it's not only that you're going to want to draw, you're going to get benefits from it. Does You happens really plan to get or expect to get? So when I draw, I kind of forget the time. I forget everything else and it feels like it feels good. So here are these two characters, and let's give this one some hair. So this R or characters, you can have him have this kind of a costume here. You can add some more details to his clothing and add a really large button just to make his suit looks. Even he sues look cartoony and exaggerated. You can always play with the features. What's going to be big, what's going to be small? Just play with the fetus. And if you're doing that on my iPad, that's even easier. But I would suggest that you do it on paper. Because the freedom that you have with the pencil, just to do the lines like that and just not being able to erase something will focus on your brain much more than if you have a backdoor to making a banner drawing, you just focus on that so I can erase. That's why I'm showing you this mattered. Where you don't use an eraser. Eraser is actually doing more harm than good when you're learning. It's not about making perfect drawings. Again, I'm repeating that, but just because it's so important. And because we want to do nice drawings. I mean, that's it. We want to get the justification of our efforts and to draw nice drawings, but that will come with time. The thing is that you use your own pace to design this and use your own style. If you can't, if you have a difficult drawing this kind of hands, well, don't do that. Don't draw this kind of hands. Draw them when you can't draw them, starts withdrawing a really simple, simple hands that you can also go to my other lecture and how I show you how to draw very simple hands, just using spheres. And so here is our first sheet of paper with male cartoony characters. And we started only by using shapes. And you can fill up a whole paper and many papers with just doing that exercise that and you'll see what kind of characters you'll get. You will be surprised, I promise you that. And in the next lecture, I'm going to be more specific about what kind of characters we are designed and how consciously to design specific shape, specific types of characters depending on the how, if we have a villain or if we have a good guy, we have a goofy guy, and so on and how to, how to approach that basically. So I'll see you in the next lecture. 9. Designing a HERO: Hello again. In this lecture, we're going to talk about how to design a hero. It means that we're going to specifically aim for character specifics that defined a hero. So what is an archetype of a character is some of characteristics that we apply to certain character type. This means that we need to generalize how would this character look like in generic features to be able to have this heroic, for example, look for brain, tend to generalize features for the sake of to easily navigate ourselves in life. Even though these characteristic later on may be proven wrong. Oh, we tend to generalize to make our life basically more simple. So when you do a cartoony character, this is even more important to give us suggestions to the viewers who this character is underwater out to expect. So heroic characters have a slightly idealistic features. Like for example, the stars in the movie day, they tend to be more prettier. They tend to look back at us. So as for a male character, we're going to design a slightly more realistic features and anatomically correct, we are looking to recognize or selfs or something. We want to be in a heroic character. So I'm going to start with drafting a body, a body type, which is more athletic. So we want to see yourselves are collected or we want to return to expect that the master dielectric and the most more handsome character in the movie. We are going to be also the hero. So I'm just going to draft a shape that is approximately of what we expect a hero to look like with athletic exaggerated features. So even though it's a cartooning, It's stylizing, basically amorphous, clutter and body, which means that we're going to exaggerate there. The chest part of the body. Where in our liking, the masculinity of a male character comes from having a more muscles on the chest and bigger arms and slightly smaller. Hips and nicely shaped launch legs are somewhat Atlantic connects not TOR, there is a measure of where the eclecticism is going on for poor, for example, if you make a character looking too much as a bodybuilding and the bodybuilder, it just gets away from. The common perception of who we are, because we would like to recognize ourselves in this character I need is a character is way too out of proportion. It has too many muscles or it's built to too much. We tend to associate it with abnormality and thus given an other characteristics, so our character should be slightly in a normal proportional now, exaggeration. This is just a general common look on the ROI character, like characters like that are, for example, Spider-Man or Batman use today have atlantic, atlantic bodies in the comic world poke him even though they are not excessively, excessively muscle builders and so on. But if you were to draw a cartoony characters, there is a range of cartooning characters, if you think about, of Asterix. So you think of Disney movies where they have slightly more photo-realistic features and that gives them more recognizable features. So he's head is still smaller than his body, so he's not photo-realistic completely. He has exaggerated features in cartooning. You have to exaggerate the features that you know to make the character more stylized, stylization or simplifying forms and shapes in cartooning is the main thing of making cartoony characters. So I'm going to give you more large arms and slightly smaller, smaller hands. Why do dot is? Because the proportions are always in comparison to other proportions. So if I do this hand small, there are small in comparison to the other features in the body, like for example, the forearm. So when the hands are small, the other parts of the body will look bigger, which is our intent here for making a heroic character. And small waist. Athletic body is also associated with a heroic character. To make the waist look even smaller and more lean and nicely shaped, we can enhance it where the belt and the belt is also very fashionable. A thick belt gives a more solid look to your character. It looks that he is a warrior. Or a character is going to have somewhat a warrior kind of tight clothing. Because this kind of heroic character appear in fairy tales, for example, the handsome prince who comes and save the princess. It's enhanced by the way, he's also dressed so I'm going to give him a nice boats. And also I'm going to give him small ankles depending on what movie you're doing. That type will, of course change and what kind of Appeal you want to have two character. But I'm generalizing here with a heroic character. Assuming that we are doing a movie, a fairy tale were premed, saves the princess, and so on. And designing and heroic character according those features. So this is basically the main shape of our character. You can generalize these shapes by just working with a sphere, so with the circles and just roughly estimate where everything is. I've explained more about that in a previous lecture. Just creating the shape, the overall shape of our character. And just have like one chest here or just here. And find the middle line of this character where everything, well, the mirror from this power on, Meet me in the middle. And the head can be a little bit turned on the site. So this is our first character. And on just as a shape, just as a main form. And I'm going to go on and design and shape up another heroic character here before we specify different features of these separate characters. 10. Designing a Hero - Part 2: So here I'm going to draw another heroic character, which is basically DID realistic young boy who dreams of conquering the evil in the world and creating a better place for everyone. Usually, he's triggered phi by a loved one who is in trouble. And he has the urge and the strength to believe that he can make things right. So this character is also a character that we want to identify with. So he's features will not be twisted even though a world generalize again and make features that are slightly more idealistic than the other characters in your story in the movie, we want this character to be the best looking character in the movie. So, uh, we're going to give him a more proportionate kinds of features. So I will have His have been with a big head and the proportions will come from slightly exaggerating the common proportions of a human being. And also the proportions need to fit within. The proportions are exactly these characters. So for example, if we want to make his body, which we are going to make slightly thinner like teenagers body. We're going to follow the proportions of a common human. Like for example, if this is his waist over here, his arms are going to follow the principle that the elbows are coming exactly towards the waist, even though his body is looking not anatomically correct according to human being, it is still stylized body. The features, the proportion of the features on his body to be somewhat correct to a normal human being. So if we have the hip over here, the chest over here, and we will use the ground like over here. And we will measure his arms, his hand ends in the middle of his tie. But we will still generalize his tie and make the type very small and stylized. And his legs will finish over here. So as the proportions, there are some proportions that are correct. Like his head is not repeated seven times on his body in that way. This is this proportionate, but his arms have a right proportions according to human body, which makes him look more realistic, even though he is a cartoony character. So let's make him a large feet. This is something we use, for example, in Disney characters like Mickey Mouse have large hands and large feet. But also if you look at Mickey Mouse as a character, this character also have right proportions of the arm. So it means the arms of Mickey Mouse are meeting the middle points, the waste of the characters. So in his world, he looks proportionate. So let's have this thick shoes. Sometimes we see like the teenagers, they, they are buying this big shoes. The shoes look big on them comparing to the features of the legs and their arms. And so because they're skinny, so we have a perception of this and these girls and boys of having these really, really oversized shoes. So this is kind of like if we just formed the features of the face here. This is kind of walk. The teenage, the young boy, story, heroic boy, who's going to save the world, who believes in, in love and does everything for, for love. I'm just going to shape approximately where the face will be and I'm going to specify these features later on. Before we move to the next lecture, I'm just going to give you a different shapes to work with right now. Now we have only silhouettes, the shapes up to heroic characters. 11. Designing a Hero - Part 3: And the third character is the regular Joe kind of character or camps there dot is basically in the wrong place, in the wrong time in doing the right things. And this character usually is like a goofy character, which we do not expect to be a hero. So this character delivers a little bit also comic relief. So he can be a little bit more exaggerated and cartooning and someone dot we feel for that we sympathize with because of that unexpected heroic role. Does he takes, think of rotatory for example, if you've seen that movie, the guy there, he's like unsuccessful in his career until the little mouse comes in his life and suddenly he's becoming this made a heroic character without even realizing yet. So this one, it can be more exaggerated. How do we create a goofy character? Just make his petrous slightly twisted like a goofy character is. Maybe slightly outer shapes. So, so make this upper part of his body a little bit thinner than the lower part. It doesn't have to be he doesn't have to be overweight hit. He can be slightly out of shape. A character that is not very idealistic. A character that leaves a very quiet life. So you can have his arms being a little bit exaggerated, longer than he is, his torso. Here. It even can have the arms being more stylized, like you don't need to make the elbow here for example, while in this boy, you maybe need to have a more defined two part arm here. It can look like more be like a sausage because he's more goofy kind of character. And it allows to play more with the shape because we expect to waft that this character. So we'll have the torso over here, almost like the boy, really. But Mickey claim more with the shapes. Here. We can have his legs being more skinnier. Spoke to her a little bit more bent forward. This character doesn't have a poacher, like for example, this boy or this Hero, which is more upright, her shoulders are more straightforward. It's a, it's a boy who believes, who believes in God and live and he has this poacher like he can conquer anything. While this character, he's like minding his own life. And suddenly something happens in his life. And he's thrown into an events where he actually do the right thing because he's a good person. So he can have a slightly more exaggerated and more unrealistic forms of the body, but still slightly proportionate. We still need to like this character. And he needs to be likable. And here we can design some goofy kind of shows. It can be sneakers or all choose. This character is usually not a vain character. He likes to have the simplicity of his life to Maya, his own business. You go to work and to do whatever he's done all his life to be a slightly more to be humble in a way, not because he wants to do good. It's just because his life has gone in that way, that he he hasn't he has been erased in that way that she doesn't need to express himself in this heroic kind of way to be, to be accepted by society. He usually have a common job. And this can also be expressed in his posture, in his clothing later on, what kind of job does he have? You can be creative here with this character. He can be. Unlike regular, regular job. You don't think of the job as a heroic kind of job, mom, just the common kind of guy. And you can experiment with this features even more. So here we have three types of heroes, defines what, what they believe and our expectations of what this character will do for story. And this is drived also by a story. What kind of story you want to have. We expect these people to do heroic actions from their point of view and we expect to white to like them in the end. So there are also an anti heroes, whether Hero start by being really bad and then turned out to be a good person. But this is a totally different chapter I'm generalizing here of how to design a hero type of character. Now let me specify these features now with the black pencil and see what kind of characters we got just by designing these simple shapes and simple forms of a heroic chapters. 12. Designing a Hero - Part 4, Defining the character: Welcome back. So now that we've designed or main shapes of the characters, let's specify their features. Let's start from the heroic guy here. And he has a more of a Prim's kind of meaningless mobile warrior. So I would imagine that this is a guy coming from a fairy tale about Warriors, about soldiers, princesses, princes, and so on. Like the common fairytale kind of guy. So I'm going to give you more of a warrior kind of features, which means the face. I'm going to make it a little bit more photo-realistic face and the features will be more masculine. This means that it's going to have a large jaw and a wide forehead, which specifies a more masculine kind of features. He is going to have a sharp now's a lot of eyebrows and a soft but strong look like a warrior and a handsome mouth. So here is the jaw. This is a pencil that is maybe through thick, but this is something that can help you also generalize the features and you can specify a laser on this in the other program like Photoshop, you can trace that character and specifies features and clean it up later on or with a more nice pen, you can trace over this character and draw with a couple of times until you find the features that you're happy with. But in a generic terms, just, let's specify this character as a warrior. Here we'll have defined jaws and pretty pictures. We want to be in love with this character. We want, we want the princess to, to fall in love with this warrior and you want him to be brave and Hansen. So, so let's trace this generic features. There are generic features for male and female. I'm going to talk about the female character later wrong, who specify how, what we find beautiful in such a characters. And basically it's from our biology that define that the strong, strong cheeks and strong sharp features are very common for the male kind of character that also symbolized strength and masculinity. So forum for a male hero, this is the features we want to be looking for. So I'm going to just draw a thick, thick hair of generic year of our prints. And just Going to have his eyes. So his eyebrows and his forehead is really strong and and give us some kind of a masculinity lookup at. And large eyes, large eyes are usually, as we said, that the eyes are the window to ourselves. That is so true. And so that's why the exaggeration of the ice makes it more expressive. So this is a character's face, and let's give him some kind of a costume, assuming that she is a warrior. So he would have some specific clogging for you, but I'm just going to make a costume, something generic that will enhance his features. Like for example, a color here will enhance his neck. And this is something also that you need to think about when you're designing character. You need to be basically even a fashion designer in onto see like what, what suits you character, how this character will look even better. What will make his features that you are drawing even better, nicer and good-looking. So let's think of maybe what kind of shape is going to be if you have a color here. So let's give him something that will separate his chest, which will also enhance even this feature, his chests over here. So just trace the chests, the blue line of the upper part of his body and give him something that will enhance that feature. That can be anything. It can be like maybe if he has some kind of pattern here that go to waste. Like the broad R3 over here with the buttons. Something that will look pretty and fashionable. And also you'll have to fit that with the story you're making, what kind of story it is and you have to find a nice clothing. If this is a Viking movie, if this is a princess, move you if you want to have a more correct according to the time that you're working with, what kind of features will be, will you find will enhance this character and who, who he is. So key will boat a little bit of his clothes, but he will have this kind of nice shirt that is coming nicely on his waist and has some wrinkles here on the shirt. I can imagine this being like a white shirt with a belt, with a with a large symbol here, maybe on the belt at symbols before I've been very important. And what you have on the symbol can be revealing who the character is, what does he have values, or, or what kind of person he is. But you can also make an icon general belt. The more you craft your characters and the more information you give for the clothing as well about yolk, you heroic character. And the more easier it will be for your viewer to know who this character is. And later on, if you tell the story, the story will be just that an icing on the cake. I've already well-defined heroic character. So I'm going to give him some nice shirt here that enhances his arms. And at that stage, just don't worry to draw a couple of lines. You can always redraw one drawing, do at a couple of times until you get the things right. But to start with what you're looking for here is just the first design of your character and who he is. You can change this design later on and do it a couple of times. Remember, being able to draw, it's not about only one drawing. It's about many, many drugs. So if you, I failed to do one drawing the way you want them to do, the way you envision that. Just do another join about the process of learning how to start over half, how to do a habit rather than just completing one drawing of your drawing process will basically be the success of how, how good you are going to be at your drawing. So as you see here, kind of like following me doing here and the first sketch of this character, I have not done this character before. So you see that the imperfections that I can noticing this character, I know that I can polish and fixed up later on. And thus how I want to show you that this is what you can be doing to whatever character you wanted to. So I'm going to color a left bet his belt here. So to give him this nice features, to give myself a suggestion, what kind of costume do I want this character to have? Or do you want him to have Superman character like you've seen many times? That is up to you to decide, just enhance his features for a heroic character. It's important that we will like them. We fall in love with them, with the prince and the movie. And we, we root for them to succeed, to, to catch the bad guy or two, for the princess to fall in love with them because we are already in love with them. And the way they appear on screen or on the story, they make us dream of someone that we could also how we want to be in that story. That's why we hear and we see these stories. We are identifying with the main characters. We want the best for these characters, and we want also the worst for bad guys. We want basically the good to conquer the bad. And the more features you place on the good, the more your LDL that you want to create, we'll identify with this character. So this is a perspective from the front. And I'm generalizing here the boots from, from the front and then giving them stylized, yet someone who's a realistic look. So here we have our first heroic character, a handsome prince. That is from a fairy tale. 13. Designing a Hero - Part 5, A different approach to a heroic character: And now we can continue with the little boy with idealistic view on the world, who believes in love and beliefs in everything good, and believes that he can conquer the world as long as he believed in the best in people. And usually that is what happens. And he, he really succeeds without. So we can make it more stylized. But as a heroic character, you need to have character, again, more proportionate. So I'm going to have him might have like a common colds or t-shirt and jeans. We want to identify again with this character and believe that this is a character that is someone like us, someone like a normal person. So just just the t-shirt and just general lifestyle. The tissues look like you can design a simple arms. It's just straight shapes. They can be the same size here. They don't have to be too much anatomically correct. They just, the atomical correctness here is coming from some proportions like for example, the elbows being in the middle of the waste and his arms coming to the middle of his ties. And just assign a gene source. Something here, like, where is your boy coming from? Who is he? This is going to be specific, again for your story. But I'm going to generalize like a normal kind of boy here with his features being like a school boy. So just with genes. And also having like a teenage boy, large, large sneakers, perhaps. A sporty boy here likes to hang out with his friends. He has just a normal clouds and exaggerate the sneakers. Thus, how the other part of the body look at this proportionate. And the more cartoony character is, the more forgiving in this, in animation. For example, if you're animating these characters to animate the characters, the more photo-realistic and anatomically correct a character is, the more it will demand for you to animated and really, really well and to put more effort into, into that process. Because we, we are used to seeing people walking and doing going on in their daily life every day. So the eye recognizes when you see a person, for a realistic person, the eye recognizes. What is a realistic movement and what is not. And as soon as you notice something is not right, the eye registers it and you kinda like feel disconnected from this character. While if a character is called Zuni, we are not. You tend to see cartoony characters walking around. Then we tend to just take whatever we see as given and we are more forgiving. Even if the character is not well, animators were not well done the week kind of like, except whatever the Creator has created for us and schema house and we just sink in the story, the character. Now, I'm just going to make the hands here a little bit. And this is can be defined later on, is just doing the main features. And here now I'm going to make this boy with a large eyes and a small nose. Again, I'm going to enhance the eyes being widen large because it doesn't make my viewers be more sympathetic to this character. That's why Disney and Pixar designed their characters with very big eyes. Because they are basically very important for connecting with the audience. The audience needs to see the character's emotions. So the bigger your design, the eyes, the easier will be for you to connect with your characters to do a nicer expressions. And I talk about that in my other lectures as well, about the importance of cartoony eyes being large and mice and stylized. So here is my little boy. I am maybe do his mouth, make his mouth opened in a smile with chicks like that, and have his hair. It doesn't matter what kind of features you give to your, your main character. You have to make him likable. Like think of, for example, Bart Simpson. He is not always a nice, a nice boy, so to say, but he is immediately likable. If you compare him to other characters in the movie, he has won. His design is one of the most likable designs in the movie. So this is, this is our boys and heroic character. And you see that she has somewhat realistic features compared to the other characters that are added. We can still work on this character to make him even more likable later on. But we already have a nice boy who can be the hero of our story. 14. Designing a Hero - Part 6, A different type of Hero: So now we can shape the regular Joe kind of hero character who is not meant to be a hero, but just happens to be the wrong place at the wrong time doing the right things. So this character can be slightly more exaggerated, is someone that is a rather goofy. And we worked a lot with this character. So he has a slightly exaggerated features, maybe a round eyes. Think of the character in rotatory, for example. How he is and he has a stylized knows. Maybe his face is not as proportionate as the other characters. Just have the eyes being warmed, bulged out. More. Surprised or even funny. He can look rather funny and goofy. Let's, let's make him a large nose. Exaggerated features make your characters look funny. Because even though we are going to sympathize with this character, this is a character that we not necessarily identify with vats and we sympathize with them. So they need to look likable, even though not as hands-on, for example, as discount. And the heroic guy, the main carriers and they need to be likable. So I'm going to make him on goofy kind of hairstyle. That is more generic. And I'm going to even stylized his hair being more of a one shape kind of hair. And just to show you three different ways of designing a heroic character, which is cartoony. And as you see this character, a look so different from each other. Still there, all cartoony. So there are many ways, many different ways in designing cartoony humans. There is not only one way. And you can, you can shape your own style of cartoony characters. When you know these, basically how you design the characters and this principles. They don't need to be set in stone. They are just guidelines for you to start working on your character sent to experimenting. So I'm going to have this kinda goofy kind of look and maybe have the spillover. That is something that his mom has given him. This is something very common to do in characters that are more homey W recognize they're like to be stuck in the past. They are having clothes for the comfort of it, not for the fashion of it. So. And this is something that you can maybe noticed with when you look at people in the US, people around you as an inspiration to design your characters. Who are these people? Why do they have the clothes that they have? For example, this kind of pull logger kind of thing that your mom or your grandma your grandma mom would make for you when you were little just to keep you warm. It's it doesn't have a very specific fashion, fashion to add, but to be comfortable, to be soft on your body and to keep you warm. And you can't get stuck with this kind of bomb clothing and you keep wearing and even though it's out of fashion and you kinda getting used to this kind of clothing. So I'm going to generalize the arm here and the fingers will be larger than they are. It's going to be in the feast. The gestures of the character, That's your design can also say a lot about them. And now I assume this character is posing for being drawn and he will be slightly tense. So I will design his arm clinched in a feast as if, okay, I'm ready to, to be drawn. And he will not have a modern clothing collected genes like for example, like this guy. He will have more like irregular clouds and you can exaggerate his legs. They can be really small legs and just this little bulge here in the stomach. Assume that he's a little bit out of shape. And just exaggerate the thinness of his, of his legs. And also because this character is a hero, He's also going to be slightly more proportional then perhaps the other characters. So if you look at, for example, the Dreamworks film, the dragon truck, how to train your dragon. And you see that it's the main character is a combination of a teenage boy and a heroic character. So you have slightly more proportional, proportional features, but he's still have the disproportion of a teenager like small legs and large feet. But he still has the clothing of the warrior. You can watch animated films and probably if you are purchasing this, this lecture, you are a big fan of animated films or cartoons and so on. And you aspire to become one day one of the people who do these things for relieving. And you should be observant of the features that creators add to this character. Because character design, especially heroic character, takes so much work, so much experimenting just because of the things I mentioned here. What, what we perceive as a heroic character and how do we make the characters likable? How do we make them look brave already from the design, from the get-go? And they do several takes on the same character exploring different characteristic and different sides of this character, from the clothing to the failure to the facials, to a very, very simple assets that the character have on the body. Like for example, I've talked about this and the spillover of this character that is a comfortable with the way he looks deaf he has taken from his grandmother or his parents, and he's not out to be fashionable. He likes to be comfortable in his position, which will enhance even more his heroic action later on when he gets into a situation where she is just thrown in and just do the right thing. And by that, it becomes a heroic character and a hero in our story. Someone we fall in love wave. But to start with, we maybe laugh at on love with and we sympathize with the character. And here you see that we have now three different characters. Their features, the way we've designed their face, their bodies, is completely different and all of these characters are cartoony characters. But you see the approach, how you can enhance each of these characters being either more stylized than this or more realistic than this. But the approaches you get to designing a heroic characters is always to design a character that is likable to the audience. So they have a somewhat symmetrical features according to some part of their body. They have a symmetry that needs to be there for us to be, to be associating ourselves with them and to like them. 15. Bonus- Drawing Facial Features of a Hero: Hello there. This is a bomb's lecture by our request, a warm of you to show you how to draw a face of a heroic character. There is a reason why I didn't go into too many details with the construction of phase, because there are different ways of drawing cartoony character and the more possibility you have to express yourself, the banner is going to be. But I'm going to take that on that note and just design a lecture to how to design a heroic character. And I'm going to choose a heroic character at this more that has titers that are very close to human. Peter's, the proportional, so very close to photo realistic human proportions. To do that, I'll first talk about how you do it, how you draw a photorealistic male face. And I'm going to explain in schematically in very rough terms. So I'm not going to do anything specific. So basically a face is split into three parts and these parts are pretty similar. There is a lot of way of approaching how to draw human face, but I'm going to give you a very simple one here so you can be able to follow it and design your own faces. So basically, let's say a face can be included in one rectangular. So you can draw a rectangular and Find the middle line. Do that approximately. Let's say this is a centre of the rectangular. If you want, you can measure it or you can draw, draw it to draw freely. Again, the most important thing here is to set yourself free because if you have too many rules, when you start drawing, you will start drawing, you will be discouraged. So I draw roughly here to show you that this can be done and this method works and you don't have to set yourself up for failure when you start measuring and drawing precise, if you can do that later on when you've broken up the habit, being afraid of making mistakes. So let's assume that this is the rectangular where we'll going to contain the face. And in human proportions, there are three equal parts approximately that divides and construct human face. The one side is where the nose is. And so if we say approximately here, you can do that between different parts and you can measure the null sweat analysis. And you can measure another third part here. And the next part is going to be exactly on the end of the cube as you see, because I'm used to do that, I just put a line here and my build incense of proportion is already in place. That's going to happen to you as well. So you're going to feel why the proportions are. And the more you draw this has the, the good news to don't be afraid. So basically, there are certain roles. This is when space ends, when the jaw is this is a triangle from where the analysis, depending on how big the analysis I'm just going to generalize here. And I'm going to do kind of a triangular, triangular here for the nose. And this is where the eyebrows are. And the eyebrows are building in this kind of bomb. A rectangular shape for the area where the eyes are. So they end up approximately here, just before the line. But I'm just going to draw it schematically and let's shade it. So here are the eyes and the eyebrows area. And so where is the mouth? The mouth gums a little bit below, not all the way down a little bit below the nose, depending on the character. Now we are working with a male character and males have stronger jaws. That means that we have more place here, more space for the Joe. So now let's define the features. And from here, from where the nose ends, the Georgia starts approximately and the male character have stronger gels. So let's define an equal part of the jaw on both sides of this middle line. And it's connected to the rounding out this area in do the same thing on the other side. Something like that. And this is for forming and basic proportions of a human face. And the third part, why the third one is entity. That's where the hair starts and here depends how thick the hair is an obviously the skull continues a little bit higher up. It rounds up. So if you have a guy without the hair, the space will continue. But usually we have a haircut. So let's form the haircut for this guy. And assume that here is the, his hair is rather thick and the ears are emptying approximately on the length of the nose, here, slightly lower, and they end up approximately where the nostrils are. So this is the year and this one is also here and the other ear, just draw another line to have a proper approximation. And here we have a with just the, this rose, the human face of a male. Now, if we are to draw the features, we can from this rectangular written. Have the tip of the nose here. We can have these lines for the nostrils and design on the line on the null. So we can design the nostrils where the end. And here we have the eyebrow and the male have stronger and lower eyebrow than the female have them for females faces are more open, more gentle that have smaller eyebrow area. But the male faces have their eyebrows are lower down on top of the ice. So let's say we have an area here from the nose where the eyebrows are. Just keep it rough. And here is another thing. When we design the eyes, the eyes apply from deep. The proportion of the eye is exactly equal from the end of this I to the beginning of this I. So we have three measurements here that we need to follow. And also another thing is that I is approximately slightly within the line of the nose where the nose ends, ages, just intersects at slightly in. Now the eyes are going to be the most challenging thing. So, but here I'm going to show you just schematically. Now we have this, this area here and we have one eye is going to end here. Maybe I'm just going to increase this area because I see that these proportions is pretty much correct. And this one, so here are the eyes and you see that it looks like a guy with closed eyes. Let me now enhanced the eyebrows and the ones over here. And now let's add the mouth working with the whole face at the same time, we'll give you an overview. If you're doing things right, if things feels right, because a feeling of how proportions are is the most correct is not really the measurements about the feeling of proportion. And this is something you have, you get when you practice. So we'll have the mouth here at Pitt. Man has a generally thinner Mao. This is something that we get through our hormones. Obviously, I'm not going to get into that. I'm not just too much into the science about biogas for me, no, It's the features of the male space are basically and female faces are according to or. And let's form the job. And here I am going to shake the eyes now the ice, usually when you draw the eyes, they're slightly tilted upwards like that. They are not usually on the straight line. So if you start the eye here, you will MDI here. And this is something that you have to work on because the eye, the arc of the eye of a human being is rather difficult. And let's do another line here to find what the other is. I'm going to do a separate lecture on portrait specifically. So I'm going to go into more details on doubts about this is just to show you the difference how you can take human proportions and turn them into cartoon character for a heroic character. And again, there are many ways of designing of a character. So this is not just a rule set in stone. This is just for more realistic character. And the more you go into exaggeration, you are allowed to do all kinds of measurements, all kinds of twists for your character. Now here we have the upper shape of the, of the eye. And now it's important to put a i, the eyes on the proper place in a photo-realistic human. And usually the pupils are aligned with the ending of the lips. So if you have a line here from the ending of the lips, this is going to be an approximate measure for where the eyes or the pupils are. Again, use that as an approximation. The most important is the feeling that you get a B if something is a right and wrong because we have different proportions. We people, and some people have narrow AI, Some people have eyes that are farther away from each other, and this is just a generalization. So here are approximately the eyes. Let's put an iris here and we see that the canter is not crossed the ICT. This is the biggest mistake that we shall be kept cross the IPE characters. So now by testing it with the blue pencil, we can see, okay, the features are pretty much working. And now we can add the eye and form even the lower lid here. So we can do that very gently here. And here we have or photorealistic male that is not cartoony at all. And we can shave the hair and so on. Now, I can go with a black pencil and enhance these features slightly, just to make you see how these terms into a nice face. The intention here is not to teach her how to draw photorealistic basis. Again, this is to make a comparison to how you can take these proportions and use them to twist them to make a cartoony character. And I'm going to enhance even the upper eyelid here where the eyelashes are. And As a, as a rule of thumb, male has shorter eyelashes, which expressed in Sienna, more tender and not as strong. Eyelash line here. Integrals and female are enhancing it as well and longer I'll luscious as well. It's a symbol of the youth, is a symbol of femininity. So female, females or GRS and hence, and women hands their eyelashes by putting an extra large eye lashes, as you may know, just because to enhance and their femininity. So take this into consideration when you design even your character to be able to exaggerate that and to make it even more appealing and even more in character. So here are the eyelashes of this male character. And I'm just going to enhance the nulls here. I'm just going to draw the nostrils and why the nose ends. I'm going to leave the help lines. I'm going to draw the mouth and just enhance the lips and the jaw here. And I'm going to connect it to the neck. Again. I'm going to have a pretty thick neck. Again, men have more masculine features which are also including muscular neck, stronger jaws, the half-full, stronger cheekbones. So I tend now dots even here with the strongest cheekbones, like it out. And the chin here and some hair. I'm just going to mark the beginning of the hair and the ending of the hair. This is something that when you've done the face, you can erase the help lines or you can redraw the character. And I'm just going to enhance, settle some features of layers. Slightly. We're not going into too much on infamy here. Just to make it easy for you, it's still are cartooning class for beginners. So here we've got the male character, a male for a realistic features and you saw the process. Now how can we take dance and twisted so we create a face of a heroic chapter? Let me explain that in the next lecture. 16. Bonus- Draw a Cartoony Male Face of a Hero: Hello there. So how can we take what we've learned here with a photorealistic face and apply it to cartooning face of a male hero. Well, basically, what do you see here and what can you enhance? And one gives this mail and more masculine look and gain a heroic character. If we choose this character to be some kind of a superhero, all have a more muscular kind of features such as we see of a Spiderman, Batman or these characters, they have enhanced the very strong masculine features and what our dose, these basically are stronger Joe, a wider part of the job. They have expressive eyes, so the eyes are still very, very big. And they have a big forehead because this is also a masculine feature, to have a big forehead, a lower eyebrows, and they have a thickened equity here. We have done in meters. Pretty much not as realistic because this guy maybe, it's like a bodybuilder, maybe less than, than what I drew here. I've already exaggerated, but I'm imagining him to be like a Muslim or kind of bodybuilding guy. Anyway. So how do we do that? Well, what you do is just draw these features. Start with drawing these features and exaggerate them. So first you draw a line here, and this is going to be the line that is going to split your face into. And let's say this is the ending of the head. So what do you do? Play with the features? And let's say you have a bigger job. So let's give this proportional more space. And you can use geometric forms to do that. So you can say, I'm going to have my jo being here and the jaw is going to be why they're here. Because we have White House here and then it goes down to retain. Okay, so let's exaggerate even those features. Let's have the CHO really wide. So let's do that and enhance the feature. What else can we do? Well, we said we're going to have lower eyebrows and big forehead. And the proportions of how you make something big is by making something else looks small. So let's give this forehead. More space. So let's say here is going to be the forehead of war hero. So now we'll have to contain the other features here. And because this is an experiments, this is just a particular character. You don't have to do that all the time. I'm going to show you how you can break. These features are played around and design different canto, different features. That's why it's important for you to experiment. First before you set up your character, before you decide this is going to be my hero, which is going to be my character because there are thousands of variation of each character. So now let's say, okay, here are the eyebrows. The next design, the eyebrows here. And what else can we do? Let's have kinda of Pixar like expressive eyes. So let's make them round, straight beneath the eyebrows. Okay, so before we said everything in stone, Let's play with the other features. Where is the nonce going to be? And we said that this part is the now Spark, but now we've lifted up all the features of these is the old jaw area. So what else can we do here? Well, let's experiment. If the mouth is over here, what is going to be? Let's have a proud mouth. So the nose is going to be lift up some way here. Does because we wanted to exaggerate the job. This is quite exaggerated for this character. I'm going to play with the features. When you decide on something. It just play with the features. Don't say I drew that and it failed because this is not correct. The new chemotherapy yourself for failure, say that. Let's experiment. Let's see where that takes me and let's see if I get something out of it or not, but just play with the features and more relaxed way. So let's decide this area of the eyes here. Let's have them here for this character. And now because I've said it's a multi-actor, I'm going to have the pupils be a rather cartoony. So I'm going to design them pretty small for this character. And I'm going to make a smile on his face. And I'm going to put the feature on this character of having slimmer smaller lips for a male character. So I'm going to just make him smile and just going to immediately give him an expression. Because you know, when you give your character expression, it comes to life more. But you can decide not to. That's up to you. I usually do that before I even put a character in default on pulse one and work for a client. Something I play with the characters features first so I can feel that character. How does it, how does he feels to me? This is the most important. And now, and now let's do the other proportions according to this face. Obviously we've moved everything around. But now the cheekbones will go below the eye here and there'll be higher up. And I'm going to even enhance douse, foodies character. And I'm going to continue the job. Now. He has a stronger jaw and now I'm going to put a little of a dimple here, but just to make him tutor. And I'm going to also add the ears here. So now let's also add a hair counts. And a haircut of heroic character needs to be dramatic and good-looking. It has to enhance these features. So I'm even going to give him a nice haircut, nice thick hair, and just laying it on top of his features, approximately like that with a slight Kirby hair. And now, what do I see? Well, do I really need that job? Let me, let me just minimize that now that I have just teachers, just take away a little bit of the jaw thing and minimize that for a little bit. Let's experiment with that. And I'm going to make him a thick neck and hear his shoulder starts from here. So he's going to be some kind of about superhero character. Let's even explore his eyes here. So I'm going to build the eyelids more black around the eyes and I'm going to be at them on top of his eyes. Because I want him to have a more expressive eyes like that. Enhance the eyebrow. Even when they sigh, I'm going to play the eyelids and just place them on top of the eye globe. Because we all have I globes that are approximately the same throughout our lives. Well, what changes is the size of our heads. That's why baby set big eyes. But also, you can play with the opening in the LTI CPU, design, a hero or if you design and cartoony characters, as I mentioned in some of the lectures. And that the more open eyes you have, the more empty your audience will feel to the sky character. That's why Disney characters have this big eyes. So now we have a sterilization of a male features of this character. This is completely different styles. Let me just go with the black pen and define these features so you can see how this makes the character cartoony. So OK. And it's going to define the features with thicker eyebrows. Small pupils. They're small because I want to enhance the opening of the eyes that makes a character even more cartoony. And the more cartoony character is, the better it is for you to play around with it or to give it an expression. It is very hard to, if you're an animator, for example, to, to animate photorealistic characters. I already talked about. And you can sit in one lecture about this is It's going to be a challenge, but because we're used to seeing humans and we're very unforgiving. We know how these humans move, we know how they look like. So in any deviation in design or movement of a photo-realistic human, make your audience react and feels like there's something wrong with this character, something unrealistic. But when you design a character that is further away from human features, you have some more life to this character. I mean, even you can note that even in this example, even though this is kind of a precise distance, general portrait of a, of a male, you'll see that the proportions are slightly deviating and the eyes or the mouth, which makes you react to the portrait that it's not really a complete photorealistic portrait. And when you look at this character, this is actually even more alive. Even though you can never see person with I globes like dots over it. I just like that. It looks more realistic. Then add a photorealistic character does because he has liked to it and because it's more expressive and it's farther away from reality. When we design an image, when we designed our world for a character. People will buy this world as long as you stay true to the world's rules. And you design these roles. You may be jaw big and you follow the rules for all your designs in your book or whatever you have, an end of the audience will accept this rules as, as true and it will not, no, not question them. They will not say what that looks. Not so realistic. That's why cartoon characters actually a look realistic. And we can, and we can feel with their emotions. We can buy them motions and we can even feel sorry for them. We can laugh with them. Then look real. So now I'm going to enhance the lips here. And you see that I don't draw all the notes and just drawing a part of the nose. And, and just enhance the smaller lips. And those go into refine and use the line that is lower than, than the one that I drew. Because now that I see all the character or the proportions are coming to live. And they're becoming more clear to me what I need to do next. And I'm enhancing this tick bones. It makes him even more masculine and more cartoony. And I'm enhancing his hair cut here. And just follow the lines of the haircut along where the hair is straighten up. So if this hair is going upwards, tried to make schematic lines that follow the waves of the haircut. This is something that I also talk about in my video of how to design this new unlike female character, how to draw a haircut and how to create a volume in the haircut. But here I'm going to show you roughly how you design this volume of the haircut. And this is more specific things. If you find this difficult, Wilders do just another kind of haircut. This can be something that you can do when you get into the material, when you set your cell-free from the boundaries of your thinking that you can draw. And you start designing all kinds of characters like I showed you in the other lectures. That's why I didn't go into too many details because it can scare your family. Can just me tell you why. Well, why can't I do that while you can? And the fact is that you need to be able to draw freely. And you need to be able to not worrying too much if you doing the right thing or the wrong thing. There's so many different ways of drawing these characters. So just freeze them, do these exercises and even do this exercise for the heroic patient character. And I'm glad that you guys are giving me this feedback. So I can do this video for you. And I'm glad that you enjoyed the lectures. I'm getting very positive response from you and it's severely really making inkblot and motivating me to do these videos for you. Because obviously, when you know something, you think that, well, it's obvious, but I know myself when I was a beginner, how these details played a big role for me and I'm very grateful to my teacher. So I just want to facet on the best way I can tq so you can start drawing because it is a lot of thumb and it has changed my life. The teachers dot iPad that changed my life. That I can do that as a profession and draw an animate. And it has, it's really, really cool so you can do it too. Anyone can do it. It's not about talent, as you may know. Now, that you have done these lectures and you have had such an amazing improvement of your drawings. And I'm going to make some kind of eyelashes to him because he's like a handsome guy, handsome character. So basically, this is a principle. This is how you'll turn one standard face and how you enhance this pictures. And I'm going to show you as well how you can play with this features of the face in another video. 17. Bonus- Experiment with Facial Proportions to design different heroic characters: So how can we use this principle of exaggeration and create more heroic faces like that? Well, just do a couple of heads the same way that I showed you with the body's. Just decide that, okay, let's have a face and let's enhance different features. Okay, Let's do the dicta. But this time let's not have it as big. So I'm just going to put a middle line here and just going to design a dust, a shape that is like dots for rough shape. Let's say this is where the nose and let's say this is where the head ends. But this one is going to be smooth over. And let's decide that the nose is going to be here. Let's do another shape and enlist also decide where the mouth is going to be. Let's decide a mouth here and the eyes here, and a hair cut to maybe let's have a lower haircut here. It's going to give us a different character. And even before you start working with characterizing the shape, we'll just do another shape. What else can we do? Well, let's have a smooth work. Let's have something that is more around. Okay, How would that look like? Let's design a bigger job. Let's do the middle line again, very roughly. And let's say, Well, let's have the forehead here approximately like doubts. How would that look like? Well, let's connect this one and this one with a more round. And now we have a face over here. What else can we do? Let's say less scared to have a longer mouse. Now, why I'm telling you that I have set distinctions in stone because I'm a woman, give you the possibility to explore. And let's have the eyebrows where the nonce and let's have the years here. Let's have another theme, big mouth here. And around highs. Again. Let's have another feature here of a guy that has many, not as the job but shorter one about a one that is coming forward, more, that is sticking out. So we can see a lower part of his job. So something like a cube basically. So let's say we have a cube and this is his job, this is his chin. And what else? Unless we have the neck here, what else can we do? Well, let's leave approximately a very Little part for the facial features. And let's have them also as a cube. This is also another way to approach the design. Let's design also the forehead, while less also do it as a cube. So let's have the forehead here. We still have three splits off of the facial. We're in where the nose starts, where the nose ends, and then when the hair starts, three different features, but we approach them in different way and we squeezed or extends and teachers just to break it up a little bit and to help us do a more interesting characters, what else can we do here? Well, let's just keep the eyebrow flow because this is a masculinity feature and let's give him a shorter nos. So even shorter than before, just to make it to enhance the mouth more. And let's give him a mouth. Maybe a little longer nose here. And just, let's have the mouth being over here. Give him a smile and maybe have this kind of ice. It doesn't have to be around. And find the pupils here and some small ears. Let's give him, now that we started with the square face, Let's get him even a chin here. And what kind of a haircut can we give him? Maybe even a square haircut with some care chunk falling over his space. There are so many ways of approaching it. Okay, and now that we have these three phases, let's define them. What do we get here? Okay, this is, the eyebrows are here on this guy. Let's have him also looking this way. Give him more attitude to see what you get, what kind of character you get. And a square kind of nulls. Again, when you put in a design feature. If you follow these features all the way, your character will be believable even though you do it with squares or if you do it when the round shapes or whatever you decide, your character will be believable and your audience will accept it as a real character. Let's give him a nice mile this time. And I'm just going to stylize the mouth. You can, you can play even without pictures. So here you can have the chain also as a square and define the the chin here and this kind of area under the chin and neck. Maybe he has. So there's like dots, really broad shoulders. Again, as we talked about, you give. Every, every feature is in comparison with some other feature. So if you want to have big shoulders, just make a small head and a smaller waist. And this is something we tend just take upon here. And let's give him a big Adam's apple here also as a feature. And this is also a very, became a very interesting character that I haven't even thought about. But you see what you get when you play with these features. And let's see this guy. You will, we will also met him and narrow eyebrows. And here, and I'm going to make him a round eyes and less left him looked at this guy and he is going to be a completely different character. He doesn't have a strong male features. You see, he doesn't have as big job. So he's not that kind of type of guys. So this is going to align with the character description that you wanted to leave you guy. If you enhance ANA kind of feature is more like a nice kind of guy. The regular Joe kind of guy. A neighbor or something that is feeding the birds or helping the neighbor. Also a heroic character that I talked about, but with less drastic teeter of a heroic, scannable macho kind of masculine character. And then he has this just smiles and maybe it doesn't even have some lips. He has a kind of a regular Joe hair count here. It can even market does with the shading and just draw some strokes on the way the hair is going. Or you can have even some chunks of hair falling down until it's due just to make him have some more irregular look. He's now to using any conditioner or any gel for his for his hair. So his hair is naturally falling down. He's not a guy who is taking care of kids. Looks a lot like you would assume this guy does. And this guy and we'll have maybe a smaller and neck because he's not as straight. But he also has again, a proportions, a real proportions. But this time, instead of enhancing the job proportions, we have enhanced the nouns, the nulls area, and we broke down the lips a little lower. We still have a forehead that is higher up. We'll still have the eyebrows that are lower down next to the eyes and now around ice. And this guy is very similar to this other guy that we drew. And let's bring him, have some strong eyebrows again. But this time he has a more gentle features is not as drastic. Enhanced draw like the other guy. So this is something in the middle. You can also come to this conclusion that, okay, I like something that is very close to the photo realistic features of a character. I want to be as close to that as possible, but I still want to do occur tuning of this character. Well, this is something in the middle way. You just smooth the features up. You don't go all the way with all the exaggeration. This is, again, an exploration process when you do your film or your book or your character design. And this is the fun of it because everything you do, every character you do is going to, you're going to get a different character. And this character may have a place in your storytelling, even though you haven't planned that. And you can even have many, you don't need to have this round eyes. You sell. Well, I want to have a more of photorealistic eyes. Well, just go halfway of that. And design ice. And that are more photo-realistic and you get a completely different look. So now let's enhance the features with the black pencil and find how these describe or character and how the exploration process has worked for us. Now this guy has, as you see, are more photorealistic eyes. They are not as bocce, they're not as round. And, and they are closer to human eyes. But still it has a very much exaggerated features still. So even that is enough to have a character look cartoony. And it has a slightly proportionate nows for his features. But it still has a thin lips that stretch all the way up to the space. And you can even design smaller ellipse here or smile. And you can now not the licks are sticking out by adding some slight shadow beneath the lower lip, it will just enhance a limp, basically. Very, very small, small tricks and we'll give you a nice character. And. Half his haircut being kind of like a more normal one. So this is kind of a hero. And that is maybe not so obvious. It has other kinds of features. It's not a guy that goes around like this guy. You see this as a completely different character. And so here I'm going to enhance the skin hair cowed by giving him a little glossy hair and a more smoother job. Now I'm not going to see the cheekbones because that's how I decided to explore this design. How would it look? It's a more kind of a father figure. This guy is a family guy who is maybe becoming a hero, maybe to save a child or, or he gets caught in the middle of a fire when he has to jump in and become a hero. Well, you would design him this way because you want it audience to wipe him. Even though he's kinda of a regular Joe kind of guy, like a father. So he's not going to have down the road of shoulders like this guy. But pretty much he's going to be well-built and maybe has a CO2, something. Again. You see that as soon as I'm starting to enhance a character in The Concept Android, the character just becomes alive and it suggests to me what kind of clothing does it have? Like, what is the backstory about the father and the guy or maybe he's just a regular guy who wear suits outside when he goes to work. His kids worthless. This dog coming from work. And still he has another kind of character when this guy is more unlike a regular Joe kind of guy but completely different character. So again, he has these features. We are dust enhancing them. And he has just thin lips. And maybe I'm just going to mark his jaw might be a little bit at the site. It doesn't have to be symmetrical. And I even can push his chin. Also, if I'm just drawing in an illustration and can push his chin on the site. It doesn't have to be completely symmetrical. Don't have to play with the role of the symmetry. All you have to do is play the role of your own style. If you design style. And this guy is always drawn with a little bit of his face being in one side, then you should just be true to that, a symbolic language, to that principle, to create a believable and nice style. That is what you have to be trained to do. So. The thing is that sometimes if you don't know a lot of roles, that if you don't try to make a photorealistic character, you will be free to design all kinds of different styles. And when you know that, yes, it is. Okay. And many people who were actually can draw photorealistic characters. They're trying to escape from the manner and they tried to break down their style and they try to make something more cartoony and more free. So this is another challenge of being too academic and too precise in your measurements and your knowledge. So you have really the freedom to not expect anything we know to just be free to explore. And ETU also want to go into an academic style and to be more precise, well, you will be able to do that as well. And the more you practice. Because for my students that are already gone to discourse. And you kind of surprising yourself. I have a lot of students saying to me it out. Well, I really thought that I couldn't draw and suddenly I introduce characters and now I can believe it. This is the best, the best feedback for me because that is what I want to, I want you to have, I want you to achieve. And so I'm really, really glad that this is happening to you and for those new people coming in and welcoming you also to discourse and expects to be surprised of how much you actually can do without you knowing it. You, There is an artist in each one of you. You just have to set it free and you just have to be unafraid to explore different shapes and different methods. So I'm just going to add the shading on the lower jaw of this guy because I'm excited him to have this kind of bomb. Square jaw working more with shapes. His job. And so we have three different characters when the faiths, the faces of three different chapters. And you see how easy it was n how many different characters we've got. So I encourage you to just take a notebook and start doing a lot of faces too. In addition to your other chapters, work with shapes, work with exaggeration, and just don't be afraid to fail solids. You say you will never fail as you see that in each shape I'm starting with just wondering, what can I explore here? What can I, can I exaggerate? And when I do that, I just take it to the next level. And so let's do that again. But this time, let me have the Joe bigger or the null speaker or, or let me try to find a different expression. So each time I, I put a question before myself, I tried to explore it with shapes and just be free and elaborate with different techniques and different shapes and knowing the main features and how I want to exaggerate them. So this was a for this lecture and thank you for asking me to complete that course with this simple electron, with this simple videos. And I hope you're continuing enjoying the course and keep on. 18. Designing a Villain - Part 1: Welcome back. So let's start with designing or evil characters. An evil Joseph is basically someone that we think is only evil and what we associate with being evil. Usually, these are the characters that have power that they abuse. Or they don't have the power. Someone has treated them wrongly and they think they deserve better, and they become bitter for a wife and doing them. It's just to give back to society or to wherever they feel hatred towards us. All the evil characters have the formed, the form features. And even though they can have the same demeanor us as the good characters, they are filters, are a little bit more twisted and deformed. So let's design the evil keen guy, the one that will lock the princess in the castle and not let her out. So I'm going to start just roughly drawing this form. And what I'm looking for here is to design a powerful character, a character with large body and difference from the hero. This character can be a little bit is formed. And also Ethan has, it needs to have a powerful party to throw off roughly, I am going to do a mostly solid body. Basically, almost all of the body will have like one shape and he will have shorter legs. Just because I want to express the, she is just a very solid, powerful character. I'll give him a shorter legs. Like that. Just this part is the legs. You can experiment. You can do a couple of weeks where the body is big or a couple of takes where you have a short body and large legs and see which one suits your concept better. And you see I haven't TM drum the head here. So I want him to have a more hunched posture so he would just delete forward. He is tense and he's not very relaxed. So I'm going to have his head almost here inside the party and exaggerate everything. And I'm going to give him a really large arms. So the arms will be completely this proportionate. And he will maybe hold. A stick here just to enhance his powerful demeanor. So I'm just going to large, parallel arms, really large as if he's wearing a cape or something. And he's hence very small. Because I want to enhance the largeness of the other parts of his body. And I'm going to make him a huge mantle already as far of his demeanor, his posture. So that will go all the way down. And the evil characters again, you can generalize and you can exaggerate even more because they need to, they can be asymmetric or they can be even more the sport. This is actually to prefer when you have an evil character. Disconformity dot we are in a way associate with something not being widely the character following to it. Again, we, as people, we are actually detrimental people. That's how our brain works. Because we need to make fast decisions when we live or allies. And that's why we put labels to people and to situation to be able to handle it really quickly. One, we have a dangerous situation. But this is something that is used in cartoons just to design a character dealt with first, believe it's evil or a good character. So I'm going to give this powerful king an angry expression, even without a grey masses, he has an angry expression. And I'm going to have his features. This formed like a large nulls, large and sharpness. Sharpness of features is associated with danger. In articles, triangular forms are associated with danger because everything sharp like if you think of knives, if you think of something sharp object where it can hurt yourself, It's always associated that it's something where you can get hurt basically. So giving these kind of shapes, drawing these shapes seen in your character will give it. I'm more dangerous somewhere. Evil kind of look. We are, our subconscious is working all the time. We interpret everything we see. With everything we've learned in life, we can see the sharp, a sharp nulls and it's not dangerous if you're not gonna get killed by putting your hand on the king's nose. You associate sharpness with something dangerous subconsciously. So giving it to a character will make him more dangerous. Let's exaggerate that even giving you a sharp pointy. Features altogether enhanced his cheekbones. My kids Mao flavor of really small as you see, I'm just going along here and designing these features on the go with what I know about evil characters, with knowing that exaggerating the features in this kind of way. Already, on the first go, I am having a king that is evil, that looks evil, and youth associate this character with doing that. It's giving him also a bad, evil expression, an angular expression from the get-go. Without him having any emotions yet. This is also associated with evilness and just enhancing his cheekbones. Also making him looking more skinnier on his face, more sharp. Again, the sharpness is playing a role here and exaggerating, making the eyes large again, giving him some wrinkles, disconformity and these proportions of the face and the body is making the character looking evil. So let's give him also are some large ears disproportional for his, for his face to enhance the evilness. Just draw the years really roughly. They don't have to be precisely correct. You can do and refine those things later and just less look at his neck over here. So we see that we don't understand where his body, how his body is actually already here. He's looking a rather scary and evil. And we can give him a crown because he is king. But even though with the Scrum and we can make the crown disproportionately pig. Even with the crown, this is can, can symbolize that. Under his face and his body. His face is smaller for his body. And he is carrying this huge responsibility on his shoulder. And he's not doing a good job because he's basically misusing his power. So, so just, just choose the elements that we associate with evilness to make the character look look evil. And you can add some more ornaments to it. And then just design also his coat. Now, we will not see one hand here and you can stylize all these. If you don't want to draw the arms, just have them stylize to start with. And very, very simple. And this is basically the fashion of his clothes. This is something you can add later on. But this is also fun to add this kind of features. Because the more you define your character, the more fun you get to define also who this character is and to see what he becomes from the view very eyes, someone that you've never thought of before. So I'm going to give him a really large, you know, how they have this red belts, the kings. So I'm going to make it through really, really large as if oh, this is light in the middle of his, of his body. Just to make his body even more disproportional. Give me came on really large upper body with really hunched back, justice proportions just making him MOOC and dust way. He is hit looks crunch hill. He looks pressed by his the weights of his back. But also it looks like he can't stand up. He can't stand up for it. He is also a little scared because he's always in fear of being defeated. So here are the kings trousers and I can make is feats being very, very small, very small feat that will also enhance his body type. But you can, you can play without it doesn't have to be that way. And now we can have some kind of are these black dots, dots the king has on his coat. Something that we've seen know from, from films how these enhanced down the clouding of the king. So here we have the first evil character and 19. Designing a Villain - Part 2: So let's go ahead and design our next character. I'm thinking, I'm making it very, very stylized, but still giving you the insight of how stylized character can look mean. So I'm going to make the evil magician, and he's going to be very short. So I'm just going to have them draw the body of like dots and the hat like that. And he's going to have also very tiny legs for like bounce. Extremely tiny, this proportionate. You can play a lot with evil characters because they can have all kinds of disproportion. And sometimes it's even more fun to do because you can be more creative with your character design. And again, I'm going to give him this poster of being in this form, the so very small, small arms. And they are going to be like in front of his body is completely anatomically correct. But as a character and trying to find these proportions, that will give me the demeanor of an evil character and that's why we see it. We will accept, hear him being built that way and we will think that this is a real character that is humped a little bit forward. So what other facial give him remembering that the evil character associated with sharpness. So I'm going to give him a lot sharp nose. So just make his nose really disproportionately large. You can just sketch it like that. And I'm going to give him these evil look already. So I'm going to make his eyes being around vary around because I'm going to hold a very simplistic designed for this one, much more different than this one is still very close to 2, rarely some to how the real person look like, even though it's stylized, this is even more style asked them death and much more simpler, simpler to do. So I'm going to have this cartoony eyes and eyebrows that are already in an angry expression. And now, just with that, we are starting to associate S character with some kind of a bird-like worth like expression that is kind of evil. So I'm going to make him look a little older. And I'm just going to make his chin sharper, sticking out n sharpening his features. And because he is a magician, I'm going to give him a big hat, magician's hat. And here we have a one completely different character. And he is much more cartoony than this one over here. And we see that even though with so small brushstrokes, Apple Pencil, we have created another evil character. I'm just going to make his ears P.sit, kind of also pointy, just too intense, the sharpness and I'm going to make his hair coming irregularity like that. Like a long hair as like a summons as you know magician. But already here now I don't even have a costume yet for him. And already here he is working or rather a rather IPO like so. And I'm going to make his legs very small and he saw his shoes actually very pointy and large. Another opportunity for me to find some designs, some pointed design which can enhance these sharpness in the character. So I'm in here. I can give him a whole suit, or I can give him a small cape like that on top of it. And a cape is tied up in front of his face. And this is already looking like another evil character with very simple method. 20. Designing a Villain - Part 3: So now let's do here third character. And this third character will be stingy guy, who is usually a skinny kind of guy. You can think of despicable Me. And he is looking over his shoulders. He has basically very little power, but heaters feels treated badly. So I'm going to start and have him I have this very disproportion of kind of body. Just draw the legs just as a silhouette. And also I'm going to give him a really large shoes. So just with strokes, define where the shoes will be white and legs will be, and clarify them as a set of, as, as a poster. You see that's already wet. Using this method that I showed you, the shadows, we already have a figure here and I'm going to design his head looking in this direction. Again, the pose of being hunched, hunched down and kind of like looking over his shoulder scared, is already enhancing his personality of being evil. So again, I'm going to give him an angry kind of look and a long sharp nose. The nose are something that we see a lot in the evil characters that a longer nose and a sharper triangular face like that. Again, I'm going to have him, his eyes around. But because of his evil Look, he will look from beneath his, his eyebrows. And you see that already here. We kind of have our character. And I'm going to give him a small mouth and just make his chin come forward. So let's tighten his features here. He will maybe have a suit or if he sees looking like a tip here. If you can have a little hat, it doesn't matter what kind of clothes that have. He can he can look like a gentle man, but his demeanor, his features, can't say this is a guy who doesn't have the best in mind by the way he looks. So let's give him now a costume. Now that heat is given, given him hat. So it's gonna be nice if the costume is also a little bit out of proportions for his body, either it's too small or too big. This is also enhance that these proportions of our character, like subconsciously, we accept that there's something wrong with me, the character. So his arms here, they're also disproportionately large, but still this arm is coming almost to the middle of the wave. So there are some kind of proportions that anatomically correct. And this is what gives balance. So that character, when we have some proportions, correct, and we can twist other proportions. Thus why we talk about how to design while well proportioned character. Well, That's how you do it. You exaggerate some proportions and you make other proportions correct, according to a normal person spotty. So now I have given him really long fingers. This is also something to enhance the skin illness of his character. Being skinny and stingy, kind of like as if saying that the character design, he's not spending so much money and he's not enjoying life to the fullest. So it's not only others that are suffering from who he is. And this is also what he does to himself. He's not allowing himself to feel happy. He's keeping himself unhappy. And that's why evil towards other. He feels wrongly to read it from the get-go. So here we have this character as well. And you see we have three completely different character designs of an evil characters. They have some similarity in it. And you can design so many characters like that just fill up of vapor with all kinds of different characters having this in mind, they can be more advanced or less advanced and use costumes to enhance their personalities. 21. Designing a Villain - Part 4: So let's go over and just define our characters more and more personality to it. Like here I've drawn a line that looks already like a wrinkle, so I'm just adding dots to give the king and more fleshy kind of work. Give him some kind of a realistic features. When you add this kind of features to the character, he has slight realism to it, like a wrinkle of a clothing and not being completely stylized. It will demand more of the design to give some more wrinkles here and there. And that's a good thing. But it can wait this in to see what kind of character you're looking to have and what kind of design. If you're working on an animated movie, you have to be careful with the design you are doing because the more things you have in your character that will demands much more work from you. If you, for example, have a wrinkle, it will demand from you to make a more realistic, more defined took our character, which will demand more work. So sometimes just stylizing a character a lot will help other parts of the process that you and that you're doing. But if you're working with illustration does not gonna be a problem. Thus will just enhance the look of your character and make it 1919 looking even better. So so you see how this character is taking shape. And it doesn't look natural that he's had the so much get low. Then where he's he's back is it looks, it looks natural. Because while you make something well waiters and well-thought-through, your audience will perceive it as it is. They will not ask the questions. Why is this? So and so they will accept the world to you present for them. So just feel free to design, to follow your vision's. A lot of time when you design characters. You're trying to make the best drawing from a realistic point of view on and you're saying, well that doesn't look real. I mean, you will never have someone's head below his below his duck that you see that that doesn't look unnatural here and it will not know but look unnatural in your drawings. You can even try and give the headlight even here and just made this huge back on the king. And this will give even more enhancement to. Wait that he's carried. Just try it out. I mean, you will not go in big exhibition sieht with this first character. You just have them as, um, as, as a proof for, for yourself that you have tried, that you have tests that's many different ways to learn how to make cartoony characters. And when you look back, like say a year from now or even a month from now. For you to you, this first characters, you will see the improvement that you've done, not only in your drawing skills, but also in understanding of design and NADPH forms and shapes and what makes a good character. But also, you will be able to see that you have found a vision for yourself, something that you are more comfortable lift than other things. Because we all have different styles. Even though I'm showing you three different styles here, they are still styles, dots I have worked out through and your designs, What Peak completely different and thus the best part with it that we are so different and weekend present to your audience, to our viewers a different design. And the skills that we acquire are basically the present we give to your audience. So that's how you can think when you start designing and when you're saying that I cannot design like this person or that person, your uniqueness is what your audience is looking for. They want something completely different. They don't want to have something that is exactly the same as someone else. They want your vision, your take on it, how you interpret the world, and how you would make them feel with your character design and watch you will present for them and for the storytelling in itself, the uniqueness of your creations. So be brave and bold when you design your characters. That's why I am doing this here. I'm presenting you with this possibility of working with character design without using any, any eraser, you become braver. Basically, I'm doing these characters. Let me shade this as if this is a big belt here. And now we can even make some kind of a small design here like he has. He's having these nice broadly on his shirt. He has he definitely can afford it. And you can go ahead and play with that even more. And just this will make your character better, fuller and it will give it much better expression. 22. Designing a Villain - Part 5: So let's go ahead and define even this character here. So is much more cartoony, much more simplistic. And he has just this body collect two balls. And I have talked a lot about data. How to design a very, very simplistic characters, two or more advanced characters in the previous lecture of how to design cartoony characters. Although there, I've talked explicitly more about cute cartoony characters that are mostly of an animal assault. And how to actually make cartoony animals look like humans. Giving them human features to make them more believable and to make them cartoony and not really animal-like. But here we are talking how to, how to make human characters look cartoony and how to simplify and generalize their features to give them different demeanor and different expression. So, so I really hope this is helpful for you and I really hope that you feel that you can handle this process now because it is not, it is not hard. The hardest part is starting later when you get a grip on it. It just gets so enjoyable that i'm, I'm dare you to, to see that you will be addicted to your own drawing. This is so calming and pleasant that if you've already purchased this tutorial, I know that you have the passion for it. And if you have the passion for it, That's all you need. Just start doing it right away. And you see how enjoyable this is. And you haven't started one day too late with that. Because the more you draw, the better you will become at it. And the thing is, even me who has drawn many years, if I stop drawing some days for a long period of time, I need to tune into it and I need to draw a couple of hours until I come to a level 1, I get back to my normal drawing skills again. Something like driving a bicycle. You do have it, but you can get better at it. The better the more you train. And you can forget it. Forget it's a little bit if you haven't tried enough. So here are his shoes. They're very small, very tiny, and very pointy. And let's also outline his hat. And here, as a real magician, I'm also going to give him the symbolic thing of having stars on his hat. Something we have seen and recognized from the cartoon, cartoon films than the half, this magician's hat with the stars. This is, these are symbols that we are used to see and we identify immediately. We see a hat with the stars are all well, that is a magician. You don't have to think twice about it. So if you, if you want to create something new from scratch, you can still do it. You don't need to do all this bundle and things that are already common and that we know of. You can design your own design and use whatever you know, just to make it newer. So I'm just going to color it black here just to make it look better. And it does start to batter already. And what I'm going to give him here is a big, what, you know, the magicians, you see magicians with the Swartz on the face. This is also a part of the disfigurement that I'm talking about. You see the characters that have these kinda terminals that have maybe disfigured features. So they have warts on the face or they have like slightly unsaved, unsaved faces. They are then not been taking care of themselves a lot. This is also neglecting yourself, also is a part of thinking. There's something wrong with this character. This is not quite right, it shouldn't, he? He should take care of ourselves because we believe that if you respect yourself, if you're lovers yourself and you take care of yourself, others will do it too. So this evil characters and not taking care of themselves, they don't care. The only thing they care is basically how to, to do bad things, how to make others feel worse than actually how to make themselves feel better, or B better, our N2 Beta. So this is our second character. And let's go for the third character. 23. Designing a Villain - Part 6: So here we have our third character to define the features of and it's pretty obvious how he looks like. The definition of these features will just give him who give us even more understanding of who the character is. So it's a good time where it can enhance whatever you feel that this character needs to look more evil or more out of, out of place, out of the place even for his own world. So I'm going to make his fingers very long. And in this hunched kind of way. He's not an often character. He doesn't open up his his body and his his posture is hinged as if to say that he's not welcoming Others, He's not welcoming the world towards him. He's always suspicious. He's looking over his shoulder to see if someone is not behind trying to do him wrong. As if we assume like the pet characters are, they are not trusting people. They think that basically the same way that they are themselves, that thing, that people are there to get them, people are there to do them wrong. So that's why just before even this person has done anything wrong. Oh, we see that with from his posture, from the way he behaves towards other people. That he is a character that doesn't trust people and someone that you wouldn't trust either. If he behaves like that, if he's not friendly towards other, other characters in your story. You don't know, you don't know why yet, but you see that something, something is wrong. And that's how our subconscious worked as well. If someone is not, is not friendly towards you and you get alignment in a way is unlike why want to do anything else and you do that automatically. We are, we tend to perceive the world in the way that we look for dangerous as well, but we usually are Bill, I believe that the world is curved and that's what makes us approach other people and be friendly to other people. If we thought that the world is out to get us, then we'll never be able to make friends and to, or to be friendly to anyone else. So that's why characters like that that are suspicious towards everyone else. Oh, we're also becoming suspicious too. It's like we recognize that behavior as unfriendly. And we wonder, what have we done? What have these other characters done to deserve that behavior? And usually it's nothing and thus how we perceive that, okay, if there is no, any reason for this character to react that way and to be unfriendly, then there is something wrong with the character rather than everyone else because they are being unfriendly. So I'm just doing the same kind of demeanor has this other character that it's an angry look. It's a wide, large eyes, but even though he doesn't have eyebrows, eyebrows here, he's looking from below his eyebrows, even if they are thick eyebrows. You can still see that this character is suspicious and it doesn't. We don't we don't we wouldn't trust this person immediately and we would assume this is a bad crap chapter in our story, no movie. So here are these three characters now, though we designed that are completely different. And they are all cartoony because they don't have a photorealistic features, but they are still very simplified and have completely different designs. 24. Draw basic shapes: Hi there and welcome back. Here we're going to do an exercise that is meant to set you free, your mind free even more than what we used to do in the previous lectures. And help you too stylized a human body and design better cartoony characters. Again, we will focus on the main character. And until now, we have been drawing with a blue pencil. And the idea for this has been for you to feel that the drawing is a little bit more temporary and not get stuck in details. This is due to freeing yourself and having you draw a little bit more free lines and not get stuck in details. Because it's essential for you to do that, to be able to find proportions, to find character, and to develop before you even draw a nice tidy line. But this time I'm going to get rid of even out the blue pencil. And we are going to bear to make a more steady line. And I'm going to start with the black pencil, because this time we're going to use basic shapes. And we're not going to even try to find character within these basic shapes to start with. And later on, I'm going to show you how you can use these basic shapes to design a cartoony characters. So this time you're going to draw a smaller drawing. So do not use all the space because you need to have your hands and your mind work fast and free and not get stuck too much into details and not start too much in a thinking process. This is a brainstorming session 4 for you to train to design cartoony characters. So this paper, you can either throw away, start a new, or you can have couple of exercises like down for yourself, where you just drawing this way and draw basic shapes which later will become or characters. So let's start with those drawing. Some, some shape, some triangular shapes. And just put a couple of shapes on top of each other. You can do more lines. That's also allowed. But just be creative without don'ts. Don't think too much. Let's do that. Let's do square. Just have a triangle, triangular on top of that. Let's do a circle here. Let's do a triangle here. And another one here. Let's do another triangle here. And more straight line here, and another triangle here. Let's do a big circle here, and a triangle here. Maybe small triangles here. And another shape and even shape here. Let's do a big square. Here. Let's do a triangle below, a circle on top, some small triangles on the side. Let's also do a big sphere and picks here here a small triangle and a small square. So let's start with these shapes. We can fill up with more shapes over here. And let's see how this shapes will help us design cartoony characters. So the DRG of designing cartoony characters also to break free from the photo realistic and realistic look of a human body and to be able to stylize it in simple shapes. When you start thinking of human body and you perhaps start thinking of nulls and ice first and the rest comes after. Which if you're a beginner, can get you stuck pretty quickly. So working with the shapes to find the symmetry of the human body without having any many figure in place is actually free new to experiment. And if you look at this line now that we have over here, you can already see from the get-go that we have small characters in here, which we can shape as different characters. So let's put shapes and features on this characters. So this is obviously we can see the body over here which we can define. We can make the arms from the get-go. You can have this arm may be twisted. He doesn't have to follow the form. And the shape. You see that you have a body over a year. This is the middle and you can have it. You can have found a waistline over here. Either. This is a king. You can have him have this costume like that. You can also find another shape in it. It's up to you. It is not set in stone, it's just meant to set you free. Some arms here that can be really stylized. And let's give him the nouns over here. And let's make his eyes be just small dots to see what kind of character we get here. The thing is that because we're doing these brainstorming sessions, we're not, we don't know really what characters we will get here. And this is the surprise of it, the fun of it. And let's make his hair maybe sticking out. Let's have his mouth being over here. We can even have like see a beard in here. So let's make him have a beard. So this is already a character. Also, I have taken this time a normal pen that will give you even more solid definition of these characters. So you can run it with a pen on top of it. Just to define the line, the lines even more. You can start designing the character without having these black pencil on top. You can start designing it immediately with a more defined pencil. You'll be very surprised how nice character you're going to get when you let your subconscious will work for you and find definition in simple shapes, you will be surprised what you get because that's how our subconscious work. I mean, sometimes if you look at the clouds and you see different shapes in the class, It's not because the shapes are really there. It's because we tend to try to find a pattern in everything we see or a brain tries to orient us in the world and make a sense of the world. So whatever we see, it's a perception that we see perception of reality. So if you start designing the simple shapes, your brain will start. Maybe we'll try to make sense of this shapes. And it will lead you to a design to see the characters within these shapes, to connect the dots basically. And so it's extremely freeing exercise to do and very surprising of what you will find in these simple shapes. So in this one I'm just going to immediately use this pencil is very thin pencil WHO? Which we will find the little scary in the beginning. But I'm just going to see what kind of characters I've gotten here. And this one I'm going to use, I'm going to make a round eyes like that. And cartoony eyes. You can use what you know from the previous lectures of how you design characters and apply them even in this, in this exercise. Now I can see that this character as having a mouth over here. So I can add an extra shape like that here and bring this design to a very new kind of design that I haven't tried before. This is where you have the jaw kind of detached. And this is just an interesting new expression of a male cartoony design. That's also here to prove that there is not only one way to design cartoony characters, but the free or you are in your expression, the more options you will have to design a completely brand new and interesting characters. And now I'm going to follow the shape and give this body just, I'm gonna have him have this large costume with big chunky buttons in here. And I'm going to have his feet via be very, very tiny like that. Because it's just my subconscious trying to find the character and find where it can find an interesting line, interesting expression for this new guy, new character. And sometimes it's like, it's like Neijing in it's like finding patterns in the piece of clothing. And I can have him like that. This is like another kind of expression. Now I have this other form here. What kind of God can I find here? I mean, here it suggests to me like a chunky kind of guy. So let me follow this shape that these forms suggests for me. And I feel like I want to give him a really round, nice nose and cartoony eyes over here. So, and I'll give him a small mouth very freely without planning. And I'm going to make these triangular shape as two legs. And I'm going to just put the feed in here. And already there. I'm having a guy. And I'm going to bring his arms over here, just slightly design the arms. And this one, I'm going to have a down in the feast. This is something that you can define later on. Costumes, hands, arms. Now this is another one, again, triangular form. Just, let me, let me give a different expression here and have him being an angry guy and just make some teeth like that capitalists chief there. What will this suggests to me? Later on, having these teeth here? Let's make him, give him an angry expression. And kinda of a large eyes. Just, just play with it. And maybe this can be a scary, scary character. I'm evil guy or something. I can even have him have horns, this can extend. This can be maybe a scary Viking or something I know being and living in Scandinavia for a long time. This will be up to debate that the Vikings don't have horns. Dvf been symbolizing that for a long time, but I actually didn't have horns on their hats. So Don's If he if you are from Sweden and just don't get mad, is just that i'm, I'm designing here something that is a pot me know, you can have him have discussed in here with some kind of a warrior costume. He can have thicker about from that. He can have smaller legs. Thus the thing when you make the character of this proportionate, they become more interesting, more alive characters. And these exercise, while doing the characters extremely disproportion amount. You see how you get cartooning, but also you are breaking the rules, you're breaking forms, the shapes, and your character become more and more fun to look at. Now this one, I will not draw even any eyes on these characters. You would just have an eyebrows and you'll see that it's also kind of a nice character without even having some eyes. I'm going to have his arms actually moving this way as if she's holding them together. As if these are his small. Hence N It looks like he has this big sleeves that he's holding his arms together, or he's holding some kind of a stick here, may be a magician or something. I don't know what your shapes will suggest, will suggest to you. But follow this instinct, whatever it is, just follow that instinct and see where it takes you. So I'm going to make use legs like that and very, very tiny, tiny feet. And even though his body's disproportional that you've seen many films, many illustrations where a symmetry and disproportion makes the character or more interesting and it gives them a second, another kind of look, different look to them. And you see the arms here that have nothing to do with human proportions. But all these characters are completely different in size, in shape. They look as if the account from a different movie. And you seek out how using actually a solid pencil or a pen to it just help, help us design these different looks. Now this one I'm going to give more softer look. It feels like it. I'm going to make him more cartoony. What round eyes? I will use this round shape of the eye, of the head dot IC ahead over here. And I'm going to give him on nose and mouth. Just maybe acute the kind of character. Now it looks like up giving him glasses and let's have his hair over here like that. And he has some small chicks. So I'm going to continue his face and actually exaggerate his face, his face really large. So even ignoring this shame that I did to start with, and I'm going to make him a double chain. And I'm going to follow the lead of this shape here to make his arms. And I'm going to have his costume finishing like belt like here. And having this guy with maybe, I'm going to use this shape to another shape over here as if he has a costume. As if he has a type. And I'm going to make his arms over here. And here I suddenly have this funny character with the costume. And, and I'm going to use this triangular shape again to make his legs stick out and some shoes, very simple shoes. Thus the beauty of designing cartoony human characters, that it can be anything. I mean, you don't have to draw realistic shoes and see, if you see that. The shoes can be very simple, very simple shapes. They can be also very advanced, but they don't have to be. Now let's see what kind of character we have. Over here. Reminds me of a little boy. So even though it's the same size, the size of the character doesn't matter. What it, what matters is the proportion of the character towards other part of their bodies. So let me enhance and enhance the face, make a peaker and bring actually the mouth very close to the eyes. That will give you this kind of a baby look. Of this character. And in the previous lecture where I draw cartoony characters, I'm talking about how to make this cuteness of a character, how to make this baby looks. But here we are drawing a nail cartoon characters and of course, children are included in that. So I'm going to follow the lead of making this this shape a kid. And I'm going to make his hair like that just roughly. And I'm going to have a small ears like everything. Everything is and in proportion to other parts. So how the ears look small is in proportion with other parts of the body. And here I'm going to have the body and some kind of a neck of this character. I'm drawing the line to find the middle of this character so I can relate where the other parts are. Again, you don't have to keep the drawing clean here. I'm going to make his arms very long. And now that I have this triangle over here, I'm going to use that to make the body of this character. And I'm going to use the dots, triangles here to make the legs how long the leg stretches for this character. And either he can, he can have like shorts and have thick legs like that, like expression of this character, character design. And I just, I'm just going to have with these stretches for legs as a different expression of this character design. And they're even going to bring the same expression for the arms. They don't have to be a thin arms. They can be they can merge with the body and can be VOC, very specific, very simplified arms with a very simplified fingers, more square looking, and feet. And then I'm going to give him some some clothing here. Awesome socks, dot look like that. And now this has a really new expression that we didn't anticipate from the get-go. So here are a lineup of different male characters and different exercise in war from what I've showed you in the beginning where you draw basic shapes and be bold, be brave, and you see that ledger subconscious guide you to what characters you are going to get. And after you've drawn this, you can say, well, I like this style. I want to make more of it. So you just pick up this character and just put him in a different and in different situations. And I'm going to do that now here. I'm just going to pick up this character and make him into a real character, like over here. So you can see how this simple exercise can guide you towards finding a tone and a character design for your movie or your book that is brand new. Something that your subconscious has guiding you to. 25. Make a character sheet out of a design of your choice: So I'm going to, I'm going to have this character have this detached law part of his jaw. And as soon as your consequence with your character, it doesn't matter that the character you are designing. A has this kind of a funny features. It just makes the terms are actually even more interesting. So I'm going to make this more suspicious kind of character. And he will supposing will be always a little bit hunched, a little bit lower. And I'm going to get this buttons in here. So your character will always involved every time you draw it. And thus basically was something that you would like here, something you're looking for now I'm going to put this shape away and I'm going to design some more process with this character. So he will maybe be on site and just always be suspicious of his surroundings. Looking over his shoulder. And I want to explore here also, how would he be, how would he look like if he looks on the site? And because I have this flood character design here, I can, I can play with it. I don't need to design the character to be three-dimensional. I can leave him as a two-dimensional character no matter where he turns. And this is something that I can take into the expression of this character. Even though if his body is slightly linked on the site is shape of the head is just the same. But what he can do to turn and sight is actually he can move his arms. And his arms can become even more love, more plastic, more organic so he can bend his arms like that, but not his head. And this is something you can try out. It doesn't have to be that way. You may be want the head to be 3-dimensional. I'm just trying to show you different ways of exploring each character that you are designing. Your character doesn't have to be a specific look to be cartoony. And that's a good thing that you can stretch yourself in designing completely different looks. And therefore, you can also create your own original style where you kind of choose, well, I like this expression. I like to design characters looking like that. So maybe I'll, I'll try to explore even more what the style will give. Just me. And do this kind of characters. Or you want to explore several design, several approaches. Now how it will look in this character has a closed mouth. Maybe he then shows his, his lower teeth. And you see that this character is getting away from the original quick sketch that we did. And it starts evolving and thus will happen also with your character. Your character will suggest to you who they are and how to draw them within the process. So, so you don't have to set the rules in stone, especially when you start designing. This is the time where it can be playful. So as a beginner, what I want to show you here with this lecture is that you need to be playful. And the same way you playful with the skills you think you possess. Like either you're, you're good at sports or you're good at cooking, you know? And I mean, if you're good at cooking, for example, you don't necessarily look at the recipe every time you kind of have a feeling for it, you know, what will make the foot good? So this is the same way withdrawing because if you, if you love cooking, for example, you don't just make one meal. And if it fails, you never cook again. You say, well, I made this dish and I lacked this and this, and this and that. And within the exploration process, you actually make the food even better than next time. So here I have a pulse how the characters, character would be scared. And I was thinking that she would just scream and he's Joe will just get separated from the upper part of the body even more and his eyes will bulge Like it up and his pupils will be even smaller. Balancing out of character design and finding the character's personality is crucial when you do character designs. The more you stretch yourself, the more you find interesting how, what you can do with that design. If you are drawing this character for foreign movie, for example, you don't have to be afraid that the jobs will fall, that there's nothing holding them together. This is a part of the creative process on paper and on everything is possible. So that's why you can be as creative as you want and you don't have to follow the rules of logic. Neither under rules of r Now to me, or the rules, Even the rules of, of gravity, you can make characters that thought. You can make 40 parts or paths that are disconnected like we did with this one. It can be much more playful. But what you viewers want to see is that the world you have created for them, the characters you've created, our consequent. So if you do this character this way, once. You will have to repeat this every time. Because suddenly if he has a head attached from one, from one picture to another, if you draw the head here and the next one, and then you don't have it in this one. That was well, it feels like the lower part of jaw is detached from his head. Well, here he has a head behind. They would just look at if you're consequent with your drawing. So that is the only, the only thing you have to follow. The rules, the rules and create for your character needs to be repeated throughout all of your design. Whatever you have a book or you draw this character couple of times. They need to act the same way as you started drawing them to start with. They can get involved, evolved. I mean, they can change as the shape. But as soon as you say that, I'm happy with my character, this is how I want my character to be. You need to follow, and this consequently, you need to follow the shape of the character in need to follow the character dynamics, how the character behaves, how the character's body parts behave to be able to convince the audience that this is the, this is the character you are presenting and it acts the same way throughout, throughout the story and throughout your book or your film. Otherwise, you can, you can put inaction and you can move any character no matter how true is that, no matter how strange this character look, this is a cartoony character because it's a stylized version of a human being. And how you recognize that, for example, this character is, is a male character. I mean, it could be a female character, but the symbols that we put there are specifics that we recognize with male and female character. I mean, look at, for example, the stylization that you, that you have in the bathrooms in lieu. Often you don't have any eyes on those characters. You just have simple shapes. May be just a triangular shaped like that, or a shape like that. And you know, this is a male, this is a female. There are certain rules like the male half, a larger upper body, while the female has a wider hips. Because of our biology, how we are built by a logically, the male has more testosterone or estrogen as a woman makes, or hips wider because we carry children. And the stylization of certain features even though there are very slight, like for example here, why this, we see that this is a male is because. Joe is bigger, exaggerated. Joel's is also something that male character have. They have stronger jaws. So even if it's a one particular asset in here that have shorter, shorter hair. Even though women also have shorter hair. We kind of see that delta is a male can figure because of some elements like the Joe, Maybe the code and strong upper body doesn't have a ways to, we don't recognize any hips in here. And we just search for elements to recognize what kind of character it is like. And the more elements of a certain character we have them always associated to this gender or to this particular character. And this is kind of a more of a monster kind of bump like character. For example. And, and later on in the next lecture you will see how the female characteristics identify and build a female cartoony character. How with simple shapes and simple generalizations of what the female body is, we can actually make a character that we perceive as a female character and therefore make a cartoony character with a very, very different designs from, from each other. And we still recognize them as a female character. So that's something to remember, the symbol. So you can, you can do any kind of character. And the symbols You Bu, put in this character will identify this character. But other than that, you can be just free to design and create your own characters. And to basically be unafraid, we dare to fail even if you think that as failing dv, if there is a character that you don't like. But I would encourage you all when you design an object, not to look at yourself as failing and not to, not to monitor your drawing as a bad drawing. Explore that drawing. Monitor that drawing as a symbol of a future character gets interested in it and see you. Is it something in this drawing that my subconscious slid me to design a new character? Is there a story behind this character? Who is this character? What, what is those character's personality? Even though very simple. Now, so here I've drawn in this character, I mean, I've made a character sitting down. The more I draw this character, the more it evolves. Now we have several versions out of the same character. And you see that when we started, we had, we had just this element and we did it from a simple shape. But each elements, each shape of this line of characters. They hide their own personalities. And you can name the personality of each one of these character and characters. And try to guess and try to explore who are these people, what kind of personalities they have. So on. I hope you enjoyed this lecture and I'm going to move on with our next lecture. And I'll see you there. 26. Female proportions - Part 1, What are the female proportions: Hello there and welcome back to the next section of how to draw human cartoony characters. And here we're going to focus on the female character and how you design and how you make a female character looking cartoony. So I'm going to follow up the same in the same way as we did the male character. And I'm going to talk about the photo-realistic and the anatomically correct features of a female body. The difference between the male and the female body is dealt. Female body is a little bit shorter. So instead of the head applying seven times for the male figure, each usually applies 6.56 times on the potty if you draw a head. So we're going to measure with approximately like that with our pan and we're going to start applying six sizes of dots. This is number one. And this is approximately two dn up the chest number chair, this is the approximately the waistline. Number three is approximately where the clot and this is number 4 is approximately just evolve. The nice. Number five is approximately near the house. And number six is where the feet are over here, so there will be approximately like that. So if you just apply this, this line, the head applying 6 times, you can find the proportions of the female body. So the female doesn't have as wide shoulders as the male half. So we're just going to draw approximately what everything is. This is the chest, here is the waistline. And the female body has a wider, wider hips. So we're just going to schematically. And the roughly, and the features here are the hips and here starts the legs. The ties are wider than the male ties is hormonal differences between men and women because we produce estrogen. And that gives us proudly hips to the functioning of a child caring. And here are the counts. And the ankles and feet. So approximately six times, of course, this is a rule of thumb. There are women that up that's a longer and shorter. So these proportions will change of course, but this is just a generalized look and generalized. A measure of normal female body. So the proportions of the arms are approximately the same as the proportions of the male. The elbow is in line of the waste and the hands when stretched, they reach somewhat in the middle of the ties. And we have the thumb here. So this is the law of out of yarn, and another is a rule of thumb. This part of the yarn is the same as the law part of DRM. They have the same proportions. So let's apply the other part approximately in line with that. And the law part of the arm. And we'll have the palm here, the hand and being in the middle of the ties. So these are kind of like general and general proportions of the female body, the chest and depressed here. So there is nothing cartoony about this figure. It looks like a pretty normal, normal body. So how do we get the cartoony shape of a female body? Again, as we talked about with the male teachers, We have to exaggerate and find specifics of how we describe a female body to apply it to a stand last look and simplify it look of how we would describe a female body. So usually, when we design a cartoony characters, we want to specify the small waist. And when you describe, for example, for a beautiful female yourself like she has long legs, you have small waist. So if I just apply these features that I mentioned with like a smaller waist, if we have the same have here, but the waste is much smaller just to keep the proportions right? We'll just put the waste a little bit higher up and it will make her neck much longer than she would usually have smaller shoulders, as I had mentioned before, the one something looks thinner or small lights always in a proportional with something else. So if you want to make the neck or the waist look smaller, just compare it to something else, which means that the hips needs to be wider here. Even though they are normal in size, they look for why there because the waste itself is so small, so thin, and also the legs, as we said, like we identify with a pretty females that they have longer legs. The longer legs are also specific for teenagers. And because the cartoons are almost consumed by kids and teenagers when we have a princess, for example, she is about 16 or 17 or even younger, but she's just becoming female. She's still at a young teenager and they usually have longer legs and we'll longer arms. They have this still disproportionate body features that also is a sign of youth. It's a sign of being a girl rather than becoming a woman. So, and as well as stylizing this teacher is making the character look even more feminine, even though there are just a, just a teenager, it keeps them this feminine features. Now this character destablization is still pretty close to the human anatomy, but still you see the difference between the normal female body and now the stylized female body, how it becomes more and more exaggerated. I mean, you can sell them, see this kind of body out in the street. But doesn't if the industry now that many girls are struggling with is this body image because we want to look like the characters that we see on TV. And they are desde el life. They are not based on real people, their sterilization of silver real bodies, but still exaggerated. And here we'll give this character hair just to identify her even more as a female. And usually her face is going to be even more thing to symbolize her being rather a younger than a grown-up woman. So this is basically pretty stylized version of a real warmer. And from here we can build a cartoony character that looks more of a kind of a hearing Disney kind of character. And this character is still rather realistic. 27. Female Proportions - Part 2, How to stylize the female proportions: So I'm going to design here another character that is more like a child, a female child, and very stylized because you can approach the character design in so many different ways in you can start with just the head that I talked about in my previous lectures. And just draw a circle and continue drawing it and t until you see it just a shape forming out here. And then you can just design a CEP. You don't have to follow the proportions of a female body. You can design and just the shape of a character. You can have a little neck. The neck can be also very simplified. It doesn't have to follow these shapes of the curves. The neck that we usually have just simplify, simplify all the forms. And you can have the legs of this girl being straight. So they don't have the curves of these legs, for example. And you can design the little girl who I had some with some socks. It's very simplified sym, symbolic character of watts. A female body looks like a firewall a girl looks like. And we can make also very, very small, very simplified arms. We can have them being just straight arms. They don't need to have the curvature of the elbow. And you can have very cartoony features here. She doesn't even need to have a wrist, undefined wrist. Just make very cartoony fingers and many cartoony characters. They just have three fingers. Like Mickey Mouse for example, he has three fingers is just because it looks more balanced. For some reason when you draw her child because the fingers are so thick, sometimes we escaped reality and we just draw whatever looks good, notes, whatever realistic. That's the best part with cartooning that you can do. Basically anything you want, as long as it looks good. And now we can draw the features of the face. Here. We can draw this large eyes and the lower part of her face, we can define it with these being the chicks here and these being her mouth. Just rough it out. You don't have to be very, very Careful at that point, and let's have her smile. And we have this small chicks over year. And she's just going to look at these character. And that side. And the eyebrows. And this character look more like a little girl rather than like a woman. And even though we don't put the hair on on her, we know this is a girl character because of the features we've got. We've had the dress. And this is a symbol of the female clothing. And we can give her in some details here. Also very symbolize with done to draw the hair everywhere. We just can symbolically draw what you described with a ponytail. Some kind of a soft blood that has the shape of a ponytail. We can enter ears here and we can design some nice hair on this girl solve. So she looks like a real character. And already here we have three completely different characters. Female characters that have used the features of these photorealistic a woman. They have different approaches of how you design them. So I'm just going to go and enhance this features with the black pencil so it will become even more clear to you. What are all of these shapes play in the design of the female character? And big eyes are very cartoony because the eyes are the windows to the soul. And the more expression you can do with the eyes, the better and you chapter will be, and the more you will be able to connect with the audience. Of course, this is not a rule of thumb if you are designing a book. For example, some use a very simplified design, like the ice i, just the dots. But all Disney movies and Pixar movies, they use this kind of big eyes and purples because especially in film, it is very important for the audience to be able to connect with the character, to, to be able to feel the character's emotions. And doing the expression with the eyes is the best way to connect with the audience. So now we have already or little girl shaping out. And you have seen me doing that on camera. Just, just using these simple principles and just using the symbols of what makes a cartoony character, what makes a cartoony female character? Basically elements of how we describe how we describe a female and using the other elements of cartooning to simplify and form separate simplifying shapes. Getting away from the reality and the anatomy of what identifies the real female body. And simplifying it to the level of maybe even the children's drawing. But still keeping some proportions, right? If you see these girl, she has the proportions of her arms, her elbows. If they're here, they are reaching the middle of the her waist and her hands are actually reaching the middle of her ties. And this is something that is anatomically correct. And some features are anatomically correct. And this part of her arm is the same like the lower part of the arm. So the balancing out parallelization, some realistic features of the body makes the character more balanced than him looking even more cartoony and very well proportioned method. 28. Female Proportions - Part 3, How to simplify the design: So if we are about to break down this character of the character design on this female. She could be like a kind of a princess kind of character with large eyes. Something that would be a part of maybe Disney design or Pixar and with rather and realistic features, but very gentle kind of features. And we can have her ice being still a large eyes, but rather more of a photo-realistic look. Saw her face will be smaller and let me apply some features with a black pencil in it so we can see what kind of character we could get. And I'm sure we'll have the eyelashes and very defined. I am luscious and ice. Disproportionately large eyes. Her mouth will be small in comparison to, to her face. Very youthful features because, you know, the large eyes are a symbol of youth. So we could have her hair coming down and we can even design some nice clothing, maybe a dress, and refining her features even more, stylizing them even more by bringing her and her shoulders being even smaller here, which will enhance even more her waist and the mice elegant features. And we can have maybe addressed like god-like princes scan of dress. For example. Just dressing up this character as if you would dress adult. And you can, you can do it any way you like. You can find any character you like to dress her up as. So, let's have that as a necklace, for example. Define that as if this is a part of contrast defining her features. And here we can have princess kind of dress falling down straight. Her and defining her arms being very gracious in even smaller than me, drone them and she will have long elegant fingers. This kind of features they use when they design females in fashion. If you've seen that they then make the characters in a way slightly this proportionate and stylized, even though they're not cartoony. But they don't look photorealistic. They do another way of stylization there, just to have the character look more elegant. And then we are not going to see those legs. So we'll just bring this dress lower down. And we will have the wrinkles of the dress falling, falling straight down. Hello, I Kirk and her costume. And going down to the ground. And we can have different ornaments here. We can have even heard teres bulging up a little bit this way here, and we're not going to see her legs. And we may be going to see some shows here. But you see just knowing what the proportions of your character is underneath the clothing. Just give you a well-balanced character, especially if you're looking to design a character that is more dismay like and that has a random, more photo-realistic or anatomically correct proportions. And they're slightly exaggerated, but they're much closer to the anatomically correct female of this proportional. Then there are the character who we have here, the little girl. And she has much more realistic features. So you see how you can bring your character from this, from finding the female proportions to stylizing it throughout different styles. And in the next lecture, I'll show you how to take. These features are female features. How you can bring your character to life, how you can make a character sheet and bring personality to your character. So I hope to see you there. 29. Designing a Heroine - what to think about: Hello there. In this section, I'm going to draw just one female character because I've already shown you how you can use shapes to design, to design and characters, and to find different approaches. So I'm going to show you something new in this lecture. And this is how to bring your character to life. And I'm going to draw a heroic female character of a story retained for, for example, it's going to be a little girl who is set on a quest to fight dragons. I choose to give her a more realistic features, actually combine more proportional body with a more simplified body. So I will use the principle that are using the previous lecture. Well, she'll have simplified features of her body. You can use round shapes, you can use just squares. It doesn't matter what you use when you design this character, you can use just lines to find a nice proportions. And I'm going to have her head a little bigger because she's going to be a girl approximately in her seven or eight years old. So she will have these childish kind of look. And I would assume I will use this character for an animated movie. Like you design your character, you will need to know your audience and the purpose of why you're designing this character. This will lead you also to find a more specific features for your character. Social have this posture with one leg, standing like that, and just draw a really rough line. And the thing is that if you want your character to stand in one leg, you will need to find the balance of the body. So the balance of the body is always like if we draw 1 here from the middle of the head. Which is like if you don't draw straight line here, this straight line needs to go and to be supported by the heel that is balancing the body. So if we draw a straight line from her head, the heel of this character needs to be approximately here. So we will draw whatever the character is standing, leg, so the heel is finishing over here. So this is the characters one leg and the other leg can be banned as she wants. It can be free as long as we have that balanced line over here. So these are basically the proportions of my character. She will have that arm straight down. And here I'm using again the anatomically correct proportions where her elbow meets her waist and her hand is finishing almost in the middle of her tie over here. So these are a 100 legs. And I'm also using the right proportions for the arms, which means that. This part of the arm is the same as this part of the arm. This part of the arm is the same as this bottom DR. the same thing goes with the legs, something that actually then legs are also proportional. The upper part of the leg and the law part of the leg have the same size. And this is also an anatomically correct proportions, even though the whole body and her features are sterilized using just some proportions of a character, correct. Give the illusion that she is a real character, that she's completely anatomically correct character. And I'm going to give her some of warrior kind of outfit. So she will have this very big boats and I'm going to define that just using settles and shapes. You know, when you design the character before even you have any features on place. You can use the Saves to see how the proportions fit together. So give her a small neck all here. And I can give her this costume. And she will have the armor as if the Viking has the armor on the arms just to balance out these volumes and this character over here. So she'll have the same thing on her arms and her hands will be on the waist. I want to make her look tough little girl who is ready to fight any drug and that comes in her way. And because she's our herring of the movie, she needs to be appealing, real like to see appealing character. So the right proportions that I'm giving her is also because I want her to be appealing. And here the arm, the hands, I'm drawing really rough. And this is something you can do later that you can practice drawing hands just using cubes. I drew just two cubes and I split 1 q being the fingers and 1 q being the pump. And I'm going to give her and the lower part of this clothing, just being like blues that goes separates here and health is just a costume that I'm coming. I'm designing as I draw alone. Something that comes out from my subconscious. Something self seen in movies like how to train your Dragon, for example. You can, again, gathering information, specific information for the costumes you are aiming to do for your character. You can make them very specific and this will enrich your character. But just starting with dots, I want to design this character, a first draft of my character and see how this will play out. Will, should be likable. Will she be a nice character? So I'm just going to round out the shape of her, her face here. Middle line is going to be where the analysis over here. And then I'm going to draw the line of the eyebrows. Very roughly. You can put this line even lower down or higher up. This will define your characters different features. But I'm going to use the principle where like for example, Disney, they give the characters these chicks and they have this more childish baby look, because babies, they have this power of the face that are like big cheeks. And they live this part of the face where you have the large forehead and very, very large eyes. So this part is always left for very, very large. I switch, I want this character to have. So I'm going to place on this line when the eyes are going to be, I'm just going to round them up as circles. And you can do a couple of takes on that, or you can just follow these guidelines that I'm giving you on. And just try out these proportions and see where they take you. And see how easily you can then where to design the mouth and ice, and how to bring your character, your character to life basically, and thus the thing with the eyes, they're a little bit crossed II, because that gives a more QTL look to the character. And I talk a lot about that in the other lecture. Designing cartoony characters. The thing is that even though they're crossed, I didn't look cross-eyed when you animate them on Monday today just look cute like, like puppies length of small children have. So the pupils here, the proportion that to where the character is looking. So the close of the character is looking, the more cross died they become me know if you put your finger on your nose and look at your finger than you see across time. The more further away you look, the more separate your pupils will become from, from one another. And I'm going to give it a small mouth here on the cheek. The closer the amorphous to her nose, the more childlike she feels. And also it becomes even cuter. So I'm just going to give her a small mouth. And the mouth is in perspective. So I'm just gonna make her smile. And here you see that we have already or a character coming to life with very few brush strokes. And I'm going to define her face. I'm going to put the ear over here. This is still the first drawing of our character and we are going to explore that later on. But these are already pretty good guidelines WHO or a character is. And I'm going to give her this pony tails again that I did with the previous character design. And here we have also the shape of the head already formed pretty well like that. And she'll have another point here. Even the hair can be stylized and can just define the features of the character face. In that the way that you draw hair, just like a chunk of hair is drawn like that, like a triangular kind of thing. Something that you have seen in films. Or they're drawn like a chunk of hair with a straight line. But I'm going to use the chunk of hair that is more of a triangular. That is as a manner for my character because that's how I started here. So I'm just going to complete this manner of design. Again, you have to be consequence, whatever you start, you have to repeat it in the same way throughout your design to be consequent. And already, here with a very few strokes, we do have our heroine and the main character of our story. And she's looking cute already. So I'm going to now go in and define her with the black pencil and see what kind of features that machine as she get. 30. Designing a Heroine - Defining the Character: So if I start defining this character a little better with a black pencil and define even the costume. To see what kind of character I got here. And you see that how much more definition you can get, how much more character you get when you don't worry about the clean drawing. When you keep the lines rough and you focus on proportions, you focus on the character and your explorer, basically everything. So as long as your unafraid and just trust your instincts that you got to be led to the forum that you're looking for. You're going to get the right shape. And what we know of her is that she's brave. So this is also included in her posture. And the way she stands. She she has the max and we can see clearly defined see the spine here. It's stretched. Spine is a proud spine. And she's not she's not hunched. She's not afraid of meeting dangerous and going for fighting dragons and fighting the enemy basically to protect her village or friends or whoever is on her way. And the thing of the heroic characters is that they are idealist. They believe that everything will work out for good. So we want to see them. No doubt that the goodwill will conquer even though in their journey, things seems impossible. There these characters that have this optimistic outlook on life, on the situation as well. And this is going to be a part of their character design. So that's why they even in the main pulse, if you, you could do it neutral posts where she's not smiling. But just given current expression from the get-go from the character design, it just creates this outlook of who this character is that we will later help you design even the pulses that she is an optimistic character, that good will conquer. So in this stage, you can pose the character like that. If you are, for example, working for an animation company and you're out to make the design or the character for modelling, for example, for a modelling sheet for the animators. Or if you are too. Design a character for an illustration for a book. Then you may need to pause the character in the neutral pose. But that will come later on in the process when you already know who your character is, when you've defined all the features. And before you do that, you need to do a couple of takes on this character to see how the features will play out. Because these features will change as you saw in the character that we design. And the male character with a, with a separate Joe. You saw how this character changed throughout the process, even though we design and very roughly very quickly, and it came out. I'm just trying, trying to define the features of this shape that we roughly designed that week. The character afterwards, through a lot of drawing shaped and me already knew his personality is, and how the character played out, who, how his forces would have been just by drawing him in different poses. Again, the so-called in animation and interactive design character sheet, where we give the character certain posing and explore the character from different points and in different emotions. So this is, or a cartoony character. I'm designing this character like a more common kind of cartoony character where the eyes are white, kind of on this knee and Pixar looking eyes where we have a more childish look and rather a proportionate body proportion Matt, according to general f features like I mentioned, we have the arms kind of proportional. You see the alcohols meet where the waste that we've girl and the arms are going from almost the half of her legs, even though the body is rather short compared to the legs and the head is likely smaller. One thing is that in children, the head applies approximately five times instead of 6.5 times four for female. And you see if you apply the head of a here, it will not apply five times. It's maybe a one to three times. So according to the normal for proportions of a child in her age, she is completely disproportionate in that way. But if she looks very solid and she looked proportionate because of a certain part, apply certain kind of proportion, especially the arms, the RPA body, and it is, in the other parts, are exaggerated, but they're also well-balanced. There are other kinds of shapes that you can explore. You can still have her body even smaller about this is the design that we're going to choose for now. And it's something that you generally see in animated films. 31. How to draw simple poses: So welcome back, and let's start with drawing the poses of this character. And what do you need to think of now is who this character is to be able to post her according to her personality and get the best out of who this character is. You need to think about how, how she is as a person. Another thing now we need to think of is sketching roughly the poses in my previous lecture about characters are musings on spheres. But here I'm going to use also something like a stick figures or shapes, or just basic main shapes to design the posers of this character. And what do you need to take into consideration here is the proportions to start with. So they need to be kind of similar and you need to think of the perspective as well. But just to have it easier for you, I'm always have the perspective where we're looking at the character. Just straight ahead like and this kind of hear the perspective is always like if you draw the horizon, the horizon will be alike somewhere over here. So and she will be in almost all the drawing just placed like that to make it easier for you to draw as well. Because the main thing of these exercises is that you start doing it too and free you hand and be able to pose your character in different poses. So who this girl is? Let's, let's do one pulse when she's standing. She's standing with a sort and it's kind of like taking it is. So I'm just going to design the head. And remember what I mentioned about the one leg that is on the ground needs to balance to balance her body. If this is the sort here, she'll have a big thwart if we design them like that. And her arm will be leaning like that on sort. The thing is that when we have a swore also as a point of picking up her her weight, we can use that as well and we don't need to have this line lined up with the leg. But it can be split up between the sort what a swot is standing and the leg so she can she can lean a little bit more because we have her body and impair. What I'm looking for is just getting the proportions right, the head towards the body and the legs. And at the same time. And just trying to find the pulses, use any kind of technique that you would like to do that. Also photograph yourself in these poses to see how your body is. You can use a reference. In, in fact, it is, it is necessary to use reference when you start with just to know how your body behaves, how your body reacts in certain pulsing. So we will just have her body lean. And she will maybe talk to someone in this casual pulse. So we'll have her arms like that. And she's like, just don't give me because this girl, she has a sense of humor. And with the line here we will design the eyes are where she's looking at and approximately just find the place where the nows is. The similar way as we did here when we have this main line here. And just do it very rapidly, doesn't have to be completely right the first time. What is important here is to find the character to see who she is. And let's have her here. Just lean back on stone. So we'll have a stone over here. And how would she lay down? She will be dreamy in, so we'll have her one of her arms under her head to keep her warm. She will be looking at the sky. She will. Here is her body. If this is the ground, she's an profile and she will have her legs crossed. Maybe she will lie down here with one leg. The other leg. We'll be on the other side. Just draw is if the character is transparent, find the hips here, the, the chest here where her ANSYS just as if you draw a stick figure and then define the boats just to see the silhouette of the curve. As soon as you find the position and you kind of see you see that? I kind of thing. Okay. This leg is maybe too short. Just lift it up. Because when you work with a blue pencil, you can do as many lines as you want and find the position of your character. So here she's going to have one leg crossed. She has this free cashflow pulses because she's, she's also a free spirit and she may be has a flower in her mouth just to make it look like more romantic. Because this girl, she's a dreamer, see dreams of a better world. So, and she's out in green in the forest exploring everything. So here we have some shapes. Now how will she be when she's fighting? Let's do let's do a fighting pulse here. And you don't have to have a ground. And the same spot. Just also when you draw your character and you draw them in different sizes. You also train yourself to work in different formats. Because if you do, for example, a book, this character on each page will be different in proportions depending on the illustration you're looking for, or even in animation. If I'm doing a drone animation, the character will be different depending on if she's in a close-up of a scene or if she's farther away. So this is something also that you need to practice. And just draw different different shapes. So we'll have her hands just row roughly and again, use line CEUs shapes, CEOs, even silhouettes, shadows, scratch, and do not worry so much. Whether you have it right or you have from just wrap it out. If you have current swatch over here. And we have one leg up front, the other one longer back. Those of you who are more comfortable with the physical sports will have that easy. You learn from reality and all of us have different skills. So at some poses will be better for someone DO and some foil the more challenging for others. Like for me, for example, I'm not a fighter. So I guess this policy was a little bit more challenging as you see, but I'm just going to fix that later. I'm just going to have the movement, things like that and you'll see how even above that I don't clearly understand, especially with this leg, will suggest to me how to fix that later on for this character and how to find the shape that will work best for this fighting pulse. 32. Refining the "Stick figure" drawings into nice shapes: Let's do a couple of more. How will this character, the, for example, a breathless, she is going to at some point get tired, but she will always be in the way in a good mood. So we'll have her hunchback. Like doubt will she will lean with her hands on her knees. How do we do that? We lean back. We put our body down, and we have our arms over here. Look at just one I do this poses very simply where the simple lines and a half, even though we don't, I don't have the character. Just her proportions. And the posing is giving me already a personality. And the boots are very characteristic. So as soon as we find the books, we know approximately if the proportions right, our right. If we have the middle of her body here and we have her pony tails, some elements to define the character. And here we have the middle line. And then we can adjust later wrong where the arms are, ones, where the hands are. We can define them better. Forests from circles. I'll put them into more cubicles shapes. And you can find the perspective of where these parties and this bar. So you see that if you put your arm in the middle, you see that they're like flop cubes basically. So if you break that down in this way, you'll find it pretty easy to find the shape. Let's do a couple of pulses here. How is she running? She will be running fast. And and with a straight back. So have one arm back. And remember when we are running, we have the opposite leg stretched. When wind, for example, here, the character right arm is back, the character left leg is forward. Stick figure drawing. We have her both. And we have her pointy details, back. And heroes like some few poses of this character. So now let's go ahead and define the posers, define the character with the black pencil, and we'll see what we've got here. So let's go ahead and draw these pulse. Where the black pencil, she's going to be laughing. She's having fun here. So even borrow the laughter. And when you find the face and the face shape is very easy to actually have the mouth and other shapes. Because this middle line, it's kind of suggests to you where the mouth is, where the analysis or the other features are. Thus, why It's very good to always have when you draw, to get used to draw this middle, middle line. I know that many of you don't want to mess up your drawings by drawing extra lines that just later have to erase. But as I'm showing you here, that your drawings are much more defined and much better when you have the drawing already stable and in place when you have your character solid, when you have your personality of your character, the proportions of your character, which is much more important. Then having clean drawings and not having your character are looking good. And if you know how to make this character alive, and if you're used to now, draw and yet it will be much easier for you next time to draw your character and to do this clean lines and to clean it up. Eventually, when you have it solid and when you have the proportions and when you know who the character is, let's have her body. Again. I'm drawing here in front of you and all the mistakes that I'm doing for the whole process. So you can see that even though one peasant along experience withdrawing power, you need actually to introduce these guidelines and to try it out to test yourself. Because usually when you're a beginner, this is something that is more important to you, is that to prove to yourself and to others that you are good at drawing. And this is the listing you need. The more you'll learn how to draw, the more demanding you will be towards yourself to draw better. And people who you surround yourself with say you're good, their opinion won't matter that much. And the opinion of your peers, artists, or people that you admire on the Internet who will give you very strict advices. They will point out your composition here, the weight of your character, the silhouette of your character. If you, if it's clear, if the drawing reads well, or if you need to pause it in a different way. If you are to try and more of your anatomy or how you balanced body parts to get the best of this character design and things like that. That at the moment, I'm not as essential, as important to you perhaps. But just drawing, just making it look like a human being more than like a cute character. And you will grow out event and you will be more and more grateful for and for people who are finding faults in your drawing and teaching you how to improve your drawing skills later on. So have that in mind when you draw. And I know you, you do need dense duration of drawing good characters just to keep you going. That's why I'm giving you this simple advice here of how to get started and how to push yourself also for the limits and still get a nice character design looking for Looking good looking teeth. And also that there is no only one way of doing it. And there is not only one way of designing cartoony, cartoony humans. They can have many shapes and forms. So you can explore and field what is E we're comfortable with before you continue with the next style and explore something else. And just get started and get going. 33. Refining the poses of your Character Sheet: So let's go on with the next boss where she is lying down. And here we have already suggested where her faces, where her mouth is because of the flower. And again, everything is about proportions. It's not really about the lines, it's about proportions. Now let's have Maker Head here so we see where her eyes are. And here is just one eye. And you can use this sphere here just to defined where her eyebrow is over here. And she has some kind of childlike features. And where she has, again, shorter mouth or shorter distance from the from the nulls to the mouth. And it should have big forehead, which makes him look more like a child. And because she also A's She's a child around we say 77 years of age. And we'll just defined even the flower. And you see how this character is kind of starting to get her personality. And it's based on this first drawing that we did. And now we can add the features like the hair and we can apply them whenever whatever pulse she forgot. We can see approximately where to add these features and we want to have a hair here just for the better silhouette. And she will look cuter if we have a small hair sticking out on her head. And here we'll have the stone and her body, and that will be slightly tucked in her clothing. And here we can explore how it, this one, these features will look like. We don't need to be way too precise, but we can explore every feature of every drawing. We can add new features to the character. And because this will help us eventually for the final look of the character. And if something here adds to the character, you can just apply it even here, just make the shoulders may be more defined. That's why it's important to do an exploration of a temperature like it out. Because the drawing gesture will become alive and neat will suggest you what do you lack if you do? And how everything looks like from different positions. So it will be easier for you later on. When you design the rest of your book or when you start animating. Even if you're not the animator yourself, it will just give suggestion to your team or two animators to know how to move this character and what is her personality. They will use this poses to basically draw from and to start animating her. And if you're working as a character designer somewhere, I mean, animators would expect to do that because we all have different images in your head. If you have 1000 and design and also tells them animators, they will have different view on how this character is and who she is. And when we do an animated film, it is important that we have in mating the same character. And we don't animate each one of us some different version of this character. We want to be consistent for our viewers because we, we animates on the same movie of all artistic vision is basically in correlation with the director's vision. And we need to provide the director, the other filmmakers of who did this character is to make it easier for them and for our audience to understand. We are basically also the actors, even in such an early stage, it is important to view yourself also as a designer, as a casting director, Basically you are casting this character for a role, whether it is in your book or your film. We iterate the world for, for her and for your audience. Now if you don't know how you hold the sort, you can test it with your hand and you see how you hold the swatch. Your arm is pointing out and your fingers are here. So you kind of define that, okay, d Psi your fingers with a cube and this is your very quickly refer it out. And you can put yourself in the same position just to see how the character will be post. So here she is when she needs to have a prosthetic position with her legs. Just copy even some some fighting poses. And here I'm going to define her feet justice. This fourth, making her steady in the back. Very rough pulses and just defining the shape that I'm seeing here. And I'm trying to guess which of those shapes are more suitable for this pose. Even though this might not be the best pulse. This is a start to know what this character is doing. And then you can continue on refining it by drawing another drawing where she is even better. So she'll have her feast clinched in fighting post. Now this was not a very good position because their arms meat, but just try to see the separate drawings here. And she will have her arms over here and her body will be slightly tilted forward and she will be determined so her look squint her eyes. I'm going to draw her eyes here round and now I have the middle line. So so we know why and Celsus health, she has tilted her head and I'll make her angry and look towards the dragon, that determination basically in her pulse. We are looking at her slightly from above and see if there is the dragon over here. So so here I would like to extend her face. You see that her head has become a little smaller than the other proportions. So this is something that you can adjust later on. But you can also in this sheet, just acknowledge it. Since the okay. This is how I feel. Her face is a little bit too small for that for that body that we have designed here. But you can continue just wrong the pulse. Because you need to, you need to see how this chapter acts, how she is in action. And I'm gonna make her hair area larger. Because now we're looking at her from above and we don't see her neck a lot. We can define her and her clothing here. And this is approximately where the ground is. So the ground is not this way that we weren't buddies slightly from above. Because if you look at the horizon, the horizon probably be approximately here. Approximately here with the perspective. 34. Using the character's different emotions to refine her design: So let's go to the next pulse where she is. She's tired. She's tired about optimistic, so she will be smiling. So here her face is lowering down, drawing the character's face as well from different perspective. We will also give you a very important insight of how her head is. When you turn her on different directions. This is what you can find out only if you draw her. So we have her eyes over here, we have her eyebrows over here. And what is important also now we need to have her smiling. Saw her chicks will be bulging right here. The mouth will be here. And this is proportional to with the proportions in this way. But now we're looking at them from from up and then go. We'll have her smiling. And looking up at someone, someone she's talking to should be very playful. And we'll just add this perspective changes in her face and extend her cheeks here. So her face is getting more proportionate. We are having or character here. I'm starting to take shape. Let's have her hair falling on her face. And the details will be approximately here. And now we can see more of her hair again because she has tilted her head down. Let's add another chunk of hair here. So to make it look childish and cute. And let's define her shoulders. Now we see how the back is coming. And so we can just add her arms, just add her costume, also important for her silhouette. Do this with the ADA are and define her costume. And now we clearly see where her arms are. Just one. We did this, designing it with two different cubes. And well, let's define her body. We have that suggested by the blue line. And here is the belt. And here we can have her costume. She is trying to take her to catch her breath, but she's still a positive, optimistic character. So she's doing that with a smile on her face. This is also defining who she is. So it is important for you to know as well. When you design your characters, to give them that personality from the get-go and to define who they are. And she will twist her feet towards each other a little bit. As teenagers do, they stand in this kind of a cute way where they don't stand with their feet straight up like that, but they bring them together in a way. They twist there, the feet towards each other. It is a kind of a cute kind of look which say that this was a teenager, it's a youth kind of sign of cuteness. So here we have poles down. And now we can define the black pencil even more. And we see that even if it's messy, reduce see where our character is. And she's looking cute. 35. Put your character in motion: So now let's define this, this last figure. And now we see that the arms here are way too big. The hands. So it means that there are approximately they're not big. But we have to define something that feels nice for the proportions will given just this pulse. So approximately here, if here is the elbow. So we'll have them come over here and just define them like roughly where the arm could be and then define her face. The thing is that now that we have the poles and the features and the proportions, right? We don't have to start exactly from the head. We can start whatever we feel. It's right. So she will not be in profile. Here is her nose, and here is the middle line for character. Just have her look determined. Running. She is in a hurry and she breathes deeply because she's a harrowing. We expect her to be in danger when she rounds or at least we want to see how this pulse will look like. So we have dealt arm in front and the town. And the feasts clinched. And we have her armor. Here. See how having some shapes that are defining immediately give us silhouette, our character. That's why it's good to have this features and to think about it. And we'll have her ponytail flying in the wind. We hit need to do apply here. The forces of nature, the wind or anything if, if we have her running. So delta will come in in our design. But at the same time, we need to put them in such a place that it makes her. Look appealing as well, so don't, don't have a hair like all over the place. Just place it so so it looks appealing and the silhouette looks nice and she still looks good. So here is running. And now we have this sum of the, when the left arm is front, the right length is in the front. So be careful with that because we can get easily confused. One, when working with exactly run cycles. And they're very close. But if you make them the opposite way, it's going to look very weird. Solve. So we have her left arm up front, so her right leg needs to be on the front. And we have her knee here and our boots defined. And here I can see now that this leg is a little bit too big because we have a perspective change. And you can change that. And also I can give it a little bit more place for the lower part here because I see that she needs just slightly more space before the boots dots. And you can define that. And as you see that the sketch is fluke, very dynamic, very Leica, us cobol kind of sketches. And this roughness and the fact that they're not completely defined. They look very fresh and they keep it even a little more character for character. So I need to bring this leg a little bit closer. Otherwise, she'll get to bigger leg. And I can see that when I define the other parts of her body, I can even notice one thing, so I'm not completely correct and I can adjust those changes. Here. We have her arriving very determined and we can define her face battle. And you see that y1 is such a small format. This does look like or character and has this features and the same time she has her personality. So here is basically or character sheet with different pulses. You can, you can, if you want, when you've done the first draft of these characters, you can clean them up. You can trace them on another paper and draw another kind of set of these pulses and just go in and give her some shadows here on the ground to show her that she's in the air. And you can do a couple of those until you feel comfortable with your character before actually tidying it up and before it came up. And you'll see that when you do that and the next time you draw it, it will be much easier for you to define your proportions. And just know that that character, you character and the design doesn't come up with from the first time. It is just a draft. You have to be helped. You think about it as a draft, so don't be afraid to rub it out, to draw, to make mistakes. And you see the pattern when you draw it, the better it will become. So I hope you enjoyed this lecture and see you in the next lecture. 36. Facial Expressions - happy and sad: Welcome back. In this lecture, I'm going to show you how to make facial expressions for cartoony humans. And I'm going to use the female character that I've designed to show you that in general forms. So let's draw some faces and I'm going to use fears to show you that. And I'm going to draw one sphere for the upper part of her head. And the law fond of her head as this is the facial and This is Karen mouth and this is where her analysis and this is the part where her forehead and her ice is going to be some, I'm just going to draw a couple of emotions here. This is something that has to do with the facial features of your character and also who the character is. Different character will express emotions differently the same way, how we see that everyone loves differently. But this is in general terms of how you can create an emotions. So in this round shapes here is the low part of your character. These are the characters cheeks, how you make an anatomically correct and yet cartoony smile. So when we smile, there are muscles around the mouth that drug the corners of the mouth up and pushes them up. So we push the fat that we have, that our cheeks and we have a smile. So we can apply these to your character. You can apply them also as simple shapes, circles, the cell to make the smile, for example, that we'll have here and atomically correct, even though it should be stylized, should apply some of these features of an anatomically correct smile is, and this character doesn't have lips, and we have this around eyes. But even though with around eyes, we will have some more atomically correct features which applied to smile. And this case, the chicks will cover the lower part of the eyes a little bit like that. Then we'll boat and the eyelids will be slightly squinting. In the middle. As we love. We screened or eyes. And we'll have the pupils. Just be not a symbol a little bit over here. And end here. Still looking in one direction. But squinting. This is an invariant general simple terms. And you see that we already have a smile and I will simplify the teeth here so they'll not be a really effective, but just a white line from the lower and upper part to signify that there is teeth and here is the neck. And one nice mile, we tend to drag or eyebrows. The more we smile, the more the eyebrows are tilted up, almost like him, that painful expression. I mean, if you left sometimes so much that it's painful to love even more. And we'll have the hair of our character very roughly, just focusing on the face. But the more you add of her features, the better idea you get up her expressions. So we'll have the eyes bulging here, laughing. And this isn't a very general term. And you see that when you work with the blue pencil, you can keep your drawings very rough. Very fluent. You don't have to you don't have to make just one line like that very correctly. And just simplified, simplify them. So how do you make the next pulse? Let's have the character being said. Let's use the same principle and draw the lower part of her face with one circle and the app apart with another circle. We can find the middle line. And here are her law barred here we see her cheeks and her forehead. We just draw a line from the CIC over here. It's not the same line as the circle. This is just to clarify how the shape is, but later on just draw a line here to find where the analysis and this is also where the cheek and where we have her eyebrows over here. Again, you can practice and to get that right, It's no right and wrong here, the most important is that you get comfortable with the process. So when we are said, it's the opposite thing is happening from the smile. The muscles that are around the mouth is dragging all the face and the facials down. And we are kind of like sulking and there are no cheeks bulging in this direction. And as we don't have as much fat on the cheeks here, and we don't get these bulge over here unless when we get older, the skin heals, that's hanging. So in the older character designs, if you have an older character, you can do that. You can have the chicks here hanging in, both be the younger character. They just drag down the lips and we don't signify any bulges here. So the eyes, the eyebrow will almost be in the same position as this one here, where the character is laughing. But the flesh of the eyelids will be directed together with the eyebrows. There'll be even more exaggerated. And the middle of the eyebrows will meet and the eyelids will be pointing up. If you want to make the character looking even said, Just have her look at a site. If she said as she want to hide it. Thus what we usually do, we don't we don't necessarily look people in DI, one we are said, which one is your high the orange emotions. We try to basically feel better. And as you see the difference between this expression here and this expression is that the mouth is coming much lower down. In this expression, it is exaggerating. The expression of sulking. Just exaggerate even the position of the mouth slightly without changing the shape of the character. But you are allowed to do that to exaggerate of the character feelings head, and just add the hair here. You can also have all the other features of the character expressing that emotion. Like for example, you can have her ponytail, so even pointing down. Because subconsciously, this also creates a sad expression on our character without or audience realizing it. All these features adds to the feeling of feeling sad or character. With the rough lines, we already have so much character and we can see expressions and emotions. 37. Facial Expressions - Sneaky, Scared and Content: Now let's add a sneaky kind of false. The one that is more of a curious kind of false that is well-known in animation with one eyebrow up and one eyebrow and down. Kind of like Jim Carrey kind of look. Once you wanted to do the mask, he used a lot of these expressions where when, why we have the face tilted from the sides, the eyebrow dot is towards us, is lifted up and the eyebrow that is further away from us, if done, that opens the face of the character even more. And we have this dynamic line of action, like this triangular Laila line of action where the character opens their expression, their eyes towards us and looks at us. More surprise kind of look is the general expression of the character. And we have a sneaky kind of work does character. So we'll have her cheeks bulging like that, and Dustin and smile. And because we are looking looking at her from below, we'll see a little bit more of her, of her chin over here. And we'll have an a neck b here. So we are seeing more of her team. And we see the other eye here. And here was this famous balls. We need to adjust the perspective of the hair and the year. And let's define her head is like approximately over here. Follows this ball here. The most important here is the shape. The shape, that perspective and expression. It's lists important to get the lines clean that you can do later. Just draw as rapidly. And we have this cheeky smile of our character. Again. The cheeks are bulging up. So we have the smile here. You can even make smallest smile. And we can see how the neck attaches to her head. Open up. One, I squint with the other eye. And we have the nouns over here. And now, let's have a scary expression. Let's do the same thing with here would define the middle of the character. And because we are going to stretch the lower part, let's let give it space for the jaw to stretch. It's not going to be the same as here. We need to make the jaw stretch sold less prepared by just defining what analysis and defining how much is going to stretch. So let's start with actually drawing the mouth first. And sketch expression. The lips are dragged down, or mouth is dragging, or the muscles of the mouth down. And or facial expressions. Open your eyebrows. I lifted up all the face is on alert, is basically exaggerate it. And the more you exaggerate the beaker, the fear that you want to show, it's going to be. You still have to keep the proportions though, but the proportions here are defined also. But how peaker the mouth is going to be. And here we have her ponytail. And when we are scared or pupils get smaller, you can signify that by making her eyes, her pupil smaller. In the allies, just exaggerating whites even more. And just showing the lower teeth and just pulling down the corners of the mouth. I'm exaggerating. And the eyebrows even higher up. Her hair in disarray also are something that you can do to enhance the impression of being scared. Her pony tails, even more pointy, as if she is in the act of just moving from one position to the other. Just to exaggerate that. Here is only another, not I'm going to make, let's have her look content. And nice. The difference from being nice, laughing. It's basically it's very subtle expression. Sometimes the more settles expressions are the hardest because it's much easier to exaggerate. But when you want to do something that just is so subtle but subtle acting, it just tests so much about how you're feeling. It usually the hardest to do. That's why the best actors are those who manage to convey strong emotions with very little acting. And now she is content here, so she will just stretch her lips. And Ringo her eyebrows just a little bit up just to show that she's kind of happy. And sometimes just soft enough this expression, you can add some eyelashes and just have her hair here. Know that her head, It's large, pointy details. Very roughly. Looking at the site, having her eyelids just fall down her eyes. She's not alone and she's come. When we are content. We are relaxed and or facials are also relaxed. There is no unnecessary stretching. This, this relaxation overall. And we signal to the other people, not everything is fine, everything is okay. So here are five of facial expressions such you can make with a cartoony characters. And it's the same way that you do the body parts. Actually, you start with a rough drawings and you can always define them in, you can always make them better and try out to do your own facial expressions in the mirror and tried to simplify them. Start with the most exaggerated expressions and work down with a more subtle expressions. 38. Refining the Facial Expressions: Now, let's define these patients with a black pencil and clarify even more or how this character look like. And now we can be more break with the pencil. And even though we don't draw the whole thing, the blue lines are still helping us identify justice features and these emotions. And give us just an extra scope to work with. And at this stage, you can do a couple of more of those before you go ahead and defining characters and put some coloring it. Sometimes I'll even in helps to name your character because name is defining and if your character is name, LE or secret. It can give you mix raw score of defining. Who is this character I'm in secret is more of Scandinavia name and it will have a more about Scandinavian features. And Lee can be, in my eye, has, for example, a red hair freckles. But this is different for you. When you hear a name. You sometimes imagine the character. And this can be different from different people, but it's still a helpful tool to use when you design your characters. And I've left some, some I sunlight here in the character's eyes, which give her evil moral life. And just define the features. I can have her, her tongue be visible in here, slightly behind the teeth. And just find the definition. Just pulling up the whole facials and have some hairs, trolls, just flying around even Dong, there is no wind. So small expression that will give the character more of a scarce and lock. It will just play more subliminal, subliminally on or audience from the character being scared. Just use all the tools that you have. But they should not be too much. I mean, vision, PESTEL, consequent. It's shouldn't be like out of place because that will be obvious. You should, you should work with the Kansas, the viewer subconscious mind, but not be more like an in your face kind of thing. Something that they would've noticed. Perceive mostly. And this kinda cheeky kind of look with one squinted, I, N1 opened Nova, suspicious kind of luck defining her eyebrows. Having my b, her little smile here, just seeing her teeth from underneath. And because you see she is in perspective, here, we can see the chick bulging, but we can even define now more of a her chin over here. And when you have things done with a blue pencil, they will lead you to see how you will complete that with the black pencil. So you have her hair sticking out here and just giving her more volume and more definition. It just shows that we are looking at her from a low angle and just define the volume of her hair. Hey, adults a lot. To create an image of your character. Hair is important hairstyles. Because if we have just a little chunk of hair sticking out, it just looks prettier, it looks more appealing to us. Now let's design the set. Can look with her looking down. And if you have a cartoony character, you don't need to be anatomically correct. You don't need to design the ending of the eye here. It's enough for the eye to be like, like a round ball. Because if you start to design more defined anatomically correct features, and the more anatomically correct features you add, the farther away you will get it from the cartoony look. And in the end, you have to put all these features into all these poses. Like if you have, like if your design I corner here, you have to put those corners in every drawing. And that will demand a lot of V0 and it would basically change your character is not going to be the same character eventually. So, so you have to be consequent with how your character looks like and how much realism you want to put in your character. Because as you'll see throughout these lectures, you can design and pretty realistic character and a pretty simplistic Character. All of them being cartoony characters, cartoony humans. But there is a different level of simplification. We're in one character, you can use just simple shapes and forms. You can have their Joel's detached and simplify and cartooning that way. And then you can have a character, for example, like this one who has more realistic features here you can see six bulging. You can see the eyes, you can have some more proportional character who is still cartoony. And it's up to you to decide what level of cartoonists do you want to give your character? What are you comfortable with? How do you want to stretch yourself? How do you want your book or your film to look like? But also you have to know, for example, if you are not sure, if you feel insecure with your character design, just start simple. Don't try to start to complex because you will learn as you do. And if you start simple, you finish your, your things that you're trying to design. If you write your book and just do a simple character design, use simple shapes, triangles, spheres. You'll have your book finished. Your hope you can have a very nice character, very specific and unique character. And you can go on and design your next character. Because you can design these shapes and these emotions with the more simple characters as we see with this male character that we designed. But if you start with a very complex character and you feel that you're not successful without, it will make you give up and that's not the way to do it. I mean, everyone can learn to draw and everyone can learn to make their own book and to make their own film. You just have to see to choose what's comfortable for you at the moment. I'm not saying to choose something that you should stick with. I'm just saying that you should do something that is comfortable for your level of development at the moment. At the same time as you continue to develop yourself and to try out new things and to stretch yourself and do more and more complex stuff. So here is our facial expressions, some basic expressions of our character. And go ahead and try those and do your own facial expressions. So I hope you have enjoyed this lecture. And if you have any questions, ask me in the Q&A section and I will try to answer them. So have fun with designing your own human characters. Thank you and bye.