How To Draw CHARACTERS for Kids | Ed Foychuk | Skillshare
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How To Draw CHARACTERS for Kids

teacher avatar Ed Foychuk, Making Learning Simple

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

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.

      Characters Intro

      1:01

    • 2.

      Characters 1 Drawing Timmy

      10:34

    • 3.

      Characters 2 Drawing Blossom

      10:31

    • 4.

      Characters 3 Drawing Jake

      8:59

    • 5.

      Characters 4 Drawing Johnny

      13:25

    • 6.

      Characters 5 Drawing Charlie

      10:29

    • 7.

      Characters 6 Drawing Garfield

      16:07

    • 8.

      Characters 7 Drawing Mickey

      17:23

    • 9.

      Characters 8 Drawing Homer

      12:10

    • 10.

      Characters 9 Drawing Dipper

      13:23

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About This Class

Welcome to How To Draw CHARACTERS for KIDS!!

This course is designed to take young and new learners through some of the basics of drawing all while helping them learn to copy, and then create, cool characters. 

This course can stand on its own, but it is HIGHLY recommended that new learners study How To Draw BASICS for Kids as a prerequisite. 

You'll note that the instructors are a parent/child team, so this course is definitely designed for kids in mind - that includes tempo, material, and language. At over 2 1/2 hours, this course is perfect for new artists. 

So join us as we bring these new learners into a new level of enjoyment in their drawing passion.

  • This course is primarily designed for learners from 7-12, but may be enjoyed by all who are interested.

Meet Your Teacher

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Ed Foychuk

Making Learning Simple

Teacher

 

A professional illustrator based mostly in Asia, Ed Foychuk has been published both professionally, and as an Indie creator, in comics. He is best known for his work in creating Captain Corea.

Ed also studied Anatomy and Strength Training in University and is well versed in exercise physiology and muscular anatomy. Perfect for helping you with understanding how to combine art and muscles!

Ed has experience teaching in Academic and Professional settings.

Feel free to follow Ed on Facebook!

 

 

See full profile

Level: Beginner

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Transcripts

1. Characters Intro: Hey, guys, I'm Ed and I'm jelly. And I'm the father daughter. And this is how to draw characters for kids. Are you a kid, Sam? Or character? Okay, listen, in this course, what are we gonna use to design characters and stuff? Stick stick men, stick men and shape some of the basic stuff that you would have learned in our basics? Course. We're gonna take that and grow it into characters that you know, in love and maybe some you don't. Okay, so this is the basic characters course, and it's gonna be fun. We're gonna, you know, do a whole lot of face designs and all that kind of stuff, right? Are you ready to do this? Yeah. Let's get to it. Oh. 2. Characters 1 Drawing Timmy: Hey guys, I'm Ed and I am jelly. And this is the first unit and our how to draw characters course. Let's see, Who are we looking at here? Who's our unit number 1? What's his name? Jamie Turner. That's right. Good old to me. He's got a big smile on. Hey, but listen before we get into this, before we start with Timmy, I really want to emphasize that I hope before you've jumped into this course that you've taken are how to draw basics for kids. It's really important that you have some of the foundational lessons that we teach in that course. Okay. Yeah. So we teach shapes and what else? Shading. Shading, yep. Articulation. Articulation. Like how old Humans and skeletons like move like their joints. The joints of movement and stuff again. And what is the course we're working on right now? Characters, That's right. So if we're working on characters right now, you know, you really need to know what articulation is about 10 stuff. And we covered that in our simplified skeleton in that basics course, right? So if you haven't taken it, get into basics, I know what it might look easier, sound easy and stuff like that. But before you go into more complex courses, make sure you covered, okay, there's my disclaimer, it's done. We're getting into Timmy now, right? Okay. So we're looking at this character, Timmy Turner. Yeah, and we're looking at basic shapes. And you can see some of the sketch marks that I already have done to create it. I've left them in here, right? So the easiest one is this big circle. We start the big circle for the character's head. Right? Now his head is in a circle per se, but it starts with that foundation. And below that circle, It's almost like kind of a pylon or something like that, right? Maybe a triangle, I guess if we can bring it all the way up if we wanted to write. Okay, yeah, so why don't we bring that off to the side here and just very lightly draw a big circle. And what could be a bit of a triangle here, right? We don't need that top of the triangle though. It's just going to mess with us a little bit. Yeah. Okay. Now, something else Timmy Turner's got is his jaw line here. It's kinda cutting through. His face is cutting through this circle. So I might do something like cut it along that way. Okay. Yeah. Okay. I'm hoping that you're following along with me. If it's going too quick, throw a pause on there. Right now. I think we're kinda good. I think we're good to get into a little bit more details and stuff like that. Yeah. So we've got this why don't we start on this side of the face here. We're going to start with his this corner, whereas hairline would be okay. We're going to come down about halfway. Circle out an ear and come down to where the John Shinar for the ear, you can just pull those. Yeah. It's like a six little squiggle for a six. Okay. Yeah. That's okay, Joe, you're doing well. Six. And then a little six? Yep. Perfect. Okay. Now from the hairline, we can come way over, kind of bring it up, and then in. So it's almost touching his skeleton or that original circle there. Yeah. We can bring another one out and watch. We're going to bring this back-end so it touches a circle over here. So if you want to come this way, or if you want to come that way, It's your choice and come out this way if you want. It doesn't really matter. It's up to whatever flows better for you. I kinda look at it. Kinda like men going that way. And you notice how I went pass this cut line that we did before, right? Because what this is gonna do is we're going to bring it down and bring it over into the year here. And believe it or not, this is his head. It's really weird-looking, right? Yeah. Yep. Okay. On top of it, we're going to draw a ball cap so we can do the brim of the ball cap here. You can straighten that up a little bit. That was getting a little bit wonky there. And then the top of the brim is going to come back. And we're going to put the top of the cap kinda where his head would be right there. Okay. Tell me is looking okay. So far? Yeah. Are you doing with the joy? Pretty good. You know, at home you're lucky. You can throw me on pause. But Joe, he's gotta keep up with me sometimes here. So I want to take a break once in awhile, watch her catch up with me. We can watch what she's doing to draw to catch up and stuff. Yeah. And you get to hear my voice. Yeah, I'm sure are really happy about that, right? Yeah. Okay. Why don't we do next we'll do the two big eyes. They're both sitting right around here. Oh, see even I mess up on the circle, sometimes one here and one next to it. You could do the little circles inside there, right? Yeah. Now this one depends how you wanna do it. I like to do it in one motion. One sweeping line. So it's gonna go like up for the nose, up for the lip, up for the mouth, and then back down. Why don't we do that one more time? For the nose, for the mouth, all the way up here. And then back down. We want it, we don't want it to bring it all the way to a circle because the circle is going to be where that faces, okay? Yep. Okay. And if we want to, we can go in and erase where that noses is going over the eye. Okay. Tim, he's got two huge front teeth. Oh, I made them. They've got to be rounder like this. Perfect. He's got a tongue in the back and then the mouth goes something like that. Not bad. Now we want to draw on his face so we can bring this all the way up there. They want to bring it a little bit further out. There we go. Well, it made him look kind of funny. Sometimes it takes a few swipes at it, right? Okay. So we've got Timmy's face here. How you do enjoy. I'm struggling a bit with what? Nothing really you'd like. I'm going okay. Yeah. Yeah, I think you're doing okay. Yeah. Yup. I'm doing okay too. Okay. Now we're going to draw a big rectangle is up top here. What are those going to be? His eyebrows, right? And we can change them around if we want to know what they're lined up this way. But I can kinda doom in a different direction if I want, right. Kinda changing some things around on him and stuff, right. So go ahead and throw in the eyebrows however you see fit, you can make them angry. You make them surprised, whatever it is, right? Okay. We're good so far? Yes. Okay. Now we're gonna get into the body. We've already got the base for this little triangle type thing, right? I like to start with the things that seem closer to me. So I'm going to go with this sleeve. He's got this hand is going to come down. Actually not that far. Sorry. I'm going to make this a little bit smaller. I think I went too big. A little triangle for a sleeve here. Come down into the hand, just going to fold around almost like a b here, right? And come back up. And we can give it two little lines. You know, these aren't heavily detailed characters or anything like that. So I think we're doing okay with them. Yeah. On the front side, we're going to come straight down. Put a foot put a you put another foot and then go up. Let's see if I can do that again for you. See if it makes sense. We're going to follow this triangle down. Come out for a foot, come back for the bottom of the foot. Put a big U that's going to come down to the next foot. It's a little bit lower than the front one is going to come forward. It's going to come back and it's going to come up. And then you can just kinda throw that he should in there. Okay. That's Timmy. Timmy is looking pretty good. And what do I say like afterwards? If we want a halo it I'm going to go along and just throw in a little bit of a darker line in case you haven't heard of that term before. Haloing is when you kinda do a, a heavy outline around a character, you can do it in different colors if you want. It kinda gives a bit of a sticker effect, right? You don't always have to do it. I liked the look of it for animation characters. I think it looks quite good. But yeah, I think to me looks good with or without it. So let's see. Turn my paper a little bit. Sometimes it's hard to get all the edges. Yeah. How are you doing over there? Join. I'm doing good. I like how my Timmy looks. Cool. It's like not as good as the original one, but I feel like if I practice more on it, you would get good. Sure, that's what it takes. It. You said the perfect thing is it's sometimes it just takes practice, right? So, you know, if if the first Timmy you do is a little bit, you know, yeah. Nothing wrong with doing Timmy a few times, right? Yeah. Yeah. I agree. I think it looks pretty good. Okay. So oh, ten minutes in. And that's not bad for our first unit into the characters course. Because it's 10 minutes. It might seem a little fast, right? Don't worry. The whole reason you've got this video, whether it's on your iPad or the computer or anything like that, is that you can stop it. You can pause it and you can rewind it, right? Yeah. So if we're going a little fast, you just slow it on down. Nothing wrong with that at all. Or do wind it and do it again. That's what's awesome about this, is that you can do it again and again, right? Okay, guys. So I hope you practice to me a little bit more and yeah, have fun with him. He's a funny character, right? Yeah. Definitely. Practice up, guys. 3. Characters 2 Drawing Blossom: Okay guys, we're back and we've got another cool character. Course. I was trying for a theme in that. Yeah, it's actually a unit, but whatever It still works, right? Yeah. Okay. So this is character number two and her name is blossom. Blossom and she's one of the Powerpuff Girls, right? Yeah. Made from sugar and spice and all things bitter. What are things nice. Oh, my bad. Okay. I got it. Right. She's got a few other things going on there. Right. Okay. So as usual, what we're looking for is some basic shapes just to help with, you know, establishing the right proportions of the character and stuff. We talked before in our basics unit about proportions, right? What are proportions? Do you remember what proportions or joy? Yeah. What portion of the body? The head to the body to that. I like that. Yeah. Yeah. It's like the head is like no, the real of eight back, kind of, yeah, good guess. You're on the right track, right? Proportions are not, like we can say this character is huge or they're tiny or whatever. No, no, no. When we're talking about proportions, we're talking about the body parts and the sizes of them in relationship to each other. And we covered this in our basics course a little bit, right? Yeah. Usually, the basic one that I taught as the rule was as you already said, was the rule of eight. That's right, you got it. And that means that the character is eight heads tall, right? But now that I'm looking over at blossom here, she's not eight heads tall, he's two heads. She's basically two heads tall, like a GB. Okay, uh, GB is this cute little character that's the head is almost 50 percent of the body, and that's what we've got with blossom here, right? So keep that in mind that when we're looking at the, the sizing of it, all, the proportions of it, all that blossoms head is going to be almost half of her body here. Okay? Okay. The other interesting thing about blossom is she's got kind of a, an oval shaped head going on. Right? It's kind of roundish a little bit. Okay. Yeah. I think you know what? Those are. The main things that I'm going to start with. We can see that she's got circles for eyes and that kinda stuff, right? And then circles within those circles and circles within those circles and all that, right? So what I want you to do is off to the side here, try to draw that oval. That's her head. Okay. Yeah. Within that oval, draw, let's see let's see if it's right about center. Yeah, writable center. We're going to draw one eye and another eye. And of course you know what? Your circles aren't going to look perfect. I don't expect them to. It's okay. Inside of those are going to be another circle and another circle. And then maybe another circle and another circle. Now lots of circles going on. Okay. Now it kinda looks like an alien. She's definitely weird looking shape. How you doing with your story so far. It's good. Yeah. I think you're doing pretty good, right? Yes. All right. Her body comes down off of the center of that circle and it's just kinda this simple little thumb looking thing or something like that. At this point it looks like a tongue coming out of his head. Yeah. Okay. And then I think we can add more details, you know, like from this point where it will come down the leg will be here, there. But I think we're going to do all this in a loop. I'm going to come back at it right now with a little bit more precision. Okay, so what I'm gonna do first is I'm going to do the outline of my head. And it's not going to be perfect. Looking good. I'm going to come in a little bit more. Do the outline of the eye. Do the i inside this, to the eye inside that. And I can even color it if I want. I can come in here and shaded up a little bit. Okay, that kinda works when she's got this cute little U-shaped smile. She's got this kinda Jati blocky hair that comes across the top, right? Yep. Has two big kinda almost rabbit looking ears things, but those are actually like a bow on top of her head, I think. Okay. Why don't we come down here, we'll draw this foot in first. This is kind of the front of the lower leg, the shin with the foot in it, right? Yeah. And then we'll come down here and draw this other leg. And you can see she's got this kinda loose, kinda gummy feeling to her legs. They're not really defined or anything. Only thing that kinda defines them a little bit are these circumference bands. And we kinda did this a little bit already when it came to doing circumference lines along a circle and stuff I got if you remember that, right. Yeah. Okay. We can come down and maybe just off of her body here. Put a little hook and on this side put a little hook. And then you could really lightly draw them so they touched together and then come in and darken it up, right? You want to darken it up? And maybe I'll go and erase the one that goes through there. There we go. Okay. Now my little blossom, It's missing something. What? Arms? She got these weird Spaghetti arms going on. These are really simple. They just come off like this. One comes off to the side and you know what? You could have. And this one's going up on this side. You could have a going off to the other side if you want it, right. She's got these really easy to draw arms that don't have any form to them or anything, right? Yeah. And she doesn't have hands right there, just mitts. It's like she's got socks up to her shoulders or something like that. Yeah. Okay. So blossoms pretty easy here, I think. I think if you want to, you can go over it in, do a bit of an outline to it or something. I got a little bit of a halo. You know what? Actually, I'm going to back that out and I'm going to show you what a halo would look like with a different color. What if I did it in orange? You can do these halos in different colors sometimes. And it will give the kind of a cool effect to it. You just go around the entire character. So you can grab one of your pencil crayons at home there if you've got one, and go around the entire character, and it gives that veal kinda sticker looking effect to it. All right, so once you've got the basic foundation of, of your character already drawn out, the details put in. You can go around and do all this. Now, if I was to really be using this character for something, I'd probably do what we call light boxing. What I would do is kinda trace it one more time and do it perfectly dwell the lines perfectly. Or I would come in really neatly in search, erase all of these different construction lines and stuff. You know, I would get in there and really clean it on up and make it look like a much cleaner drawing and stuff, right? Yeah. So if you want to do that, you can keep an eraser handy and just be ready to clean things up a little bit. Okay. I'll jurors come and join the outline of the hero. Well, good. Did you choose a different color? Oh no, I should. I'm going to go for like a coral. Pink. Okay. That'll work. Blossom. Yeah, sometimes, you know, you might have a theme that matches the character if in the halo and stuff, I will say this like if you have a character standing on their own, that works out usually pretty well when it comes to doing some type of halo. But if you've got a character in a scene, let's say you're drawing a comic book or something like that. And they're standing there in a, in a street or something like that. The haloing doesn't quite have the same impact. It actually kind of hurts sometimes the scene because it takes a character out of the scene. Okay. Yeah. So use halos sometimes if you're just doing what we would call pinup art or something like that. Something simple. But otherwise, yeah, like I said, if your storytelling or something, stay away from it a bit. Okay, Joy, What do you think you almost done yet? Yeah, Let's see it. Yours is super cute. Was You're so cute. What's going on there? Better minds all wonky, but I need to got it. And you said do it more and more. Yeah. Really, that's the key, is to just do it again and again and again until you get the patterns down, you get understanding what makes that character what it is and stuff, right? Yeah. And what do we call that? Practicing? Good. I'm glad you got that one right away. Yeah, you just gotta practice guys. Okay. So if you need to rewind this video and draw this Powerpuff Girls, again, I don't know, move her arms in a different direction next time you go and have fun with it guys. 4. Characters 3 Drawing Jake: Hey guys, we're back and we've got another character course for you here. In this unit, we are going to cover Jake, the dog. Jake the dog. Yeah. I can't say he really looks like a dog though. Now, what shows us from Adventure Time? Oh yeah. What's his buddies named? Fin? That's really been the human. That also doesn't look like a human. He's got that big sock on his head or something, right? If that's his hat. Okay. While we're looking at jQuery today, and Jake, in my opinion, looks much more like a potato than a dog. I've know if I was to draw a potato, you know, he would There's my potato and that looks a lot like this dog. But it's cool because it gives us a lot of flexibility of how to draw him basically. And that's why a lot of these animation shows, they use these very simple forms to design their characters so that they're easy to play with and stuff, right? Yeah. Okay, so let's look at the overlying shape of Jake, which is a potato. Yeah. Imagine if I draw this off to the side, it kinda goes like this. And like I said, he looks like a potato actually, I wanted to do a little bit fatter. Better. That looks like Jake. I have finished drawing Jake units done. His arms, his eye. Okay. Yeah. I'll do some other things. So some other things that we've got going on here is we've got one circle for an eye, another circle for an eye, and then another circle for his muscle that's in the middle. So we can bring that across and bring it over and do one circle for the eye and you can just rough it in. It's okay. Another circle, give it some space here, right? We want some space in between, right? Another circle for the eye and we wanna kinda have them roughly the same size, right? Yeah. And then overlapping both of them is going to be a circle in the middle. Okay. Yeah. I think that's probably pretty good. If we wanted to begin rough in where the hands and the feet are just ooh, ooh, ooh, ooh. That's my adventure times. Sound effects. And now we can start to get into it. Now that we've got this ugly Potato Head thing going on, off to the side here. We can start to fill in some of these lines, right? Why don't we take a look and start with the nose because that's ahead of everything else, right? So he's got kind of a dog knows going on here. You know. That kinda works like a dog's right. It comes down and then comes down on both sides and follows that muzzle circle all the way around. And I kinda clip that a little bit. So I'm going to come back up and do it again. There we go. So jigs muzzle goes all the way around. And then underneath it, he's got a bit of a mouth here. Alright. Okay. How are you doing on your joint? Good, good. His eyes. We can follow the circles and bring it all the way around. One thing I noticed on his eyes though, on both of them is it has an appearance of classes. It looks like he's wearing glasses sometimes because they kinda get thicker as they come to this back-end. So it's almost like he's got glasses with nothing connecting them or something, right? So they kinda get sicker as they're on this side of things. You can see me thickening it up just a little bit on this side, right? Yeah. Okay. So you can see them thicker on this side. He's got a little ear back here. And then I can start to rough in the big potato Head. Doesn't have to be perfect because potatoes aren't perfect, right? Yeah. Coming down his backside and he's got this attempt at a tail is not the most beautiful dog around you and you are like a pug. He looks like he would be a pub, I guess, kinda, yeah. Yeah. I didn't I was trying to set didn't have a clue into what kind of dog is. I'm not a big fan of pugs, so I guess this kinda makes sense. Okay. Before we get down to the legs and everything, why don't we do the arms because we're already up here and stuff. We can start with the hands, just follow the circle, how it's outlaid so far. He's got these kinda little claw type hands type of thing, right? And then they're rubbery and come back up. So it comes with a hand rubbery and comes back up. And it's really that simple. This character was designed to be simple. So on this hand is the same kind of thing. He's got these kinda little finger claws right comes up and that's the hand. That's why I like plotting in the circles for the hands. You can just use them as your base and then go around them, right? The arm's going to come out rubbery and come back into the body. Arm's going to come out rubbery and come back into the body. The thing about Jake, if I've got it right, is we're not going to be drawing a lot of joints for for Jake or anything, right? He's got this kinda rubbery flexi body or whatever that can stretch. Yeah, if I remember correctly. So we don't have to worry about all the points of articulation on him because they don't really work the same on that stretchy type. Physique, right? Okay, so we've got the arms laid in. The body is kinda, this arm is coming from this side of the body. So the body is going to be in front of it a little bit, right? It's going to come down. Do we want to do the feet first and then go up to Lake? Sure. Yeah. Yeah. Yeah. I want to do the foot the foot on both sides is kinda following the circle. And then the leg is going to kinda come up to the body and come up to the body. Come up to the body, and come up to the body. And it's really that simple. There we go. It's Mr. Potato. I mean, it's Jake. And listen if you want to change things around, what you can do. If you're just wanting to just experiment a little bit. Put one leg back. I didn't want change colors or sorry. Put one leg back, put one foot over here, and then bring it up to the body. There we go. So you can kind of move things around a little bit because all it is, It's just the circles. You could put one circle here, one circle here. You can start to shift them one way or another and play around with the posing just a little bit, right? Because his arms and legs are so rubbery. You know, you could have put one hand up your one hand over here and it still would have worked. You didn't have to follow the the rules of when we're normally dropped trying to draw a regular people and stuff I got right. Yeah. Okay. Now we're going to come in, do a little bit of haloing form. I like that for these animation character types. I don't usually do it for more realistic characters. But for animation, something about them looking cute on stickers or something like that. I really dig to look. Or you don't a halo. You've done what you've done ahead of me this time? Yeah. How does that happen? I don't know that I'm done. I think I was talking too much. I think mine's pretty darn cool. You think so? Yeah. Okay. And I did like a halo and a difficult sell. Oh, cool. Yeah. Okay. So that's my Jake, otherwise known as Mr. Potato dog. And your GQ looks awesome. Yeah. Yeah. Yeah. No, I'm totally impressed. I didn't get it well, with this one. I actually like it was more than my nato, yours. I think you did a smarter thing. You went more of a softer round? Yeah. Then I did. I went to lumpy on my potato, I think. Yeah. Until like yeah, right. A little bit. When he says Yeah, I agree. I agree. I think the problem was he should have been a little longer in the leg, shorter and the body and stuff. All right. It looks like I gotta do it again. You don't have to. You got it perfect the first time. And I like the yellow around because he's supposed to be yellow. Know, Hi, I'm Joe, That's a good point to write. The character is yellow. So listen, let this be a lesson to all the students at home. Even the dad messes up. Don't tell your dad. I said this. I think yeah, it can happen that sometimes the kid pulls it out and really Roxanne and Joey, little fist bump long. I had to make the same effect. Yet you did it. So it looks like the students at home and me, we got to go back to practicing, right. All right guys, let's get practicing. 5. Characters 4 Drawing Johnny: Hey guys, we're back and we've got a new character for you. Well, and he's not that new. It's been around for a little while actually. Joy, you know who he is. Not really. His name is character number four. Okay. Not that. He's actually Johnny Bravo. And Johnny Bravo's kinda got this cool swag personality to whom? A bit like modern Elvis or something like that. And as you can tell, he's a lot more complicated than the character is the first tweet that we encountered, right? Yeah, He's got a lot more things going on to him. Proportions are tough. So what I want to teach you a few tricks when we're going to deal with him. First trick I want you to do is maybe if you can grab a ruler. Okay? You can put me on pause as you do that if you want. But one trick to learning, like the drawing, something to like copying it right? It's having the right sizing. And so if we were to take a ruler and draw from the bottom of his foot to the top of his head. Maybe even this joint in the shoulder or something like that. That's, you know, we can kind of a benchmark a few of the spots that are important for getting the sizing right. Okay. Other met, what do we usually do when we're trying to figure out what makes a character, you know, we've got the height, we've got some of the proportions here. You know, with a funny little thing is if you've taken, and I hope you have taken our how to draw basics course. You know that these are weird proportions. You know, if I was to look from top to bottom. Here's the head, here's the feet, and here's that crotch. So all of this is upper body, right? Yeah, That's huge, like a huge warping of proportions, but that's cool. Like that's, that's what makes this character part of who he is, right? So first thing we look at as a proportion says, maybe upper body to lower body proportions. Also maybe the width of his shoulders here, right there. They're quite massive. Yeah. So we can keep that in mind. Looking for basic shapes. Where do we see it? While I can see the sketch I did underneath already has a chevron. You ever heard of a chevron? Chevron is like a shield. Like this shield kind of form, formation and stuff, right? So you can think of it like the old nights they had shields and stuff like that, right? This chevron, is that okay? So we can look at how the chevron comes from here to somewhere over here and it comes down part way. And that's our chevron, right? Yeah. Okay. It also seems to carry over it nicely into the shoulders. Okay. What other shapes do we see on Jony here? And that king offers face? Yeah, I think we've got this kinda almost rectangle, but it's kind of a recall that with irregular sides, trapezoid or something like that. I guess. I don't really know. You're supposed to be the math was I think it they're not parallel. Okay, so we've got this kinda weird cup looking box going on. And just those two shapes. I think we can roll with that if we want to, we can add a third, the triangles for his feet. I think that might help us just to center things a little bit, right? Okay, so we've got these triangles for its feet. If we really want to keep haunting, we could do the hands, do kind of squares are oddly shaped squares for the hands, right? Yeah. We can place them. You can see it's on this line here. We can place it over here. Alright. Yeah. Yeah. Now it's starting to make sense, right? It's starting to look like a skeleton that we could kind of piece together a little bit if we wanted to, we could add the hip in here. On this level, we could add a lay coming in late, coming down. We can add the shoulders in here. Arm coming down. Arm coming down, right? Yeah. Pebbles at this midpoint, maybe nice somewhere on here although we don't see them ending or anything, right? Yeah. So hey, I really hope that you've been practicing your figures. The, you know, the rule of eight were totally breaking it. But that's okay. It's good. You know, I don't mind breaking the rules. It's not us, it's the designers of whoever did Johnny Bravo, right? Yeah. Okay. So we've got that. We've got Johnny Bravo here. Let's see if we can kinda make some sense of some some things here, okay? Okay. So we've got a shoulder that's coming up here. And we've got a shoulder that's coming off here. Right? And then the shoulder kinda swoops down to the table. And then another one comes from the forearm and comes down at swoops down to the hand. Want to try that one again? From the shoulder, rounding down to the elbow, and then from here kinda rounding down to the hand. And it does it same on the left side, rounding down to the elbow, and then rounding down to the hand. Maybe I went a bit long on that one. Okay. So you can see the This is kinda got this bounding, this rounding on the outside, right. On the inside of what they do for the character design is they bring it from somewhere around here, just inside of the chest here. And they'd bring it all the way down to the wrist. Like that. Yeah. Okay. And same with the inside here comes from you can go from the wrist up if you wanted. That makes more sense for you. And all they did was then just add a little cough on to the shirt. Added a little cough on to the shirt like as t-shirt, right? Yeah. Okay. We're pretty good. What do we keep working down? We'll leave the face for last here, okay? Okay. This week we follow this nice Chevron down to about the hit. Once we hit the hip, we can around it at the bottom here, come up to the Chevron and then it fills out the chest on this side. Okay. We're good for the crotch. Just little bump. Leg goes straight down. Late, comes up to the bot. And it kinda follows this motion here. We can see it on this side, right? Yeah. Okay. On this side from the crotch over to the panel or to the boot where we're going to have it. And from the top here down to there. Now we can just go in if we want and go straight into the feet and the feet on this side, right. But what are we missing? Do you see what we're missing here is little yeah, the little cough thing, right? So we can kinda draw in little kind of shape, Semi rectangle, slash things, right? And if we want to, at any point, you're welcome to come in, kind of clean things up a little bit. You know, even start to shape things in so that it makes more sense that we've got his, his shoe on this side or something like that. Okay. You can save this to later too if you want. Sometimes, you know, when you're drawing you just like, I don't like how it looks right now. I want to kinda make it a little bit darker, better or whatever and stuff. It's okay. Go ahead and do it. Yeah. Okay. So we've got Johnny Bravo so far. Not bad, right? Yeah. See how we could do what you can go and clean the cuffs up up here too. You know, that kinda helps it look a little bit better and stuff right. There we go. Okay. Why don't we do the hand. We've already got this nice foundation of these little squares and stuff for him. On his left, our right, you can come down and kind of use that square and a little bit. And why don't you give him one pointing finger coming out and then coming back. And then the thumb comes out like this. Nice and simple like okay, you can even put a little ridge of knuckles on there or something like that. It's your choice. On the left side, same kind of thing. Come down for the ridge of the hand. You can bring one finger if you want. He's got really simplified hands, right? So coming out for the thumb there with Johnny Bravo and, and, and a lot of cartoon characters. They usually will put five digits on a hand. They won't put five fingers anything because it's too complicated. It's too complicated and it just doesn't look right to me. Yeah. Okay. Now, when we go up and do the head here, hence pretty simple. We've already got that semi triangle roughed in, right? And about halfway down this triangle is just a cut line. And what's on that line? Sunglasses. Nice and simple, right? Yeah. Okay. And his nose is so simple. It's a line with a little dot. You can even draw the ears in that kinda go off the sunglass line if you want. Okay. Then he's got this cool big bouffant hair that comes kinda up and depends how you want to do it. You can make it bigger. If you want to make it a bit smaller, I just wouldn't even go smaller. I would make sure I go big on that hair. Okay. Yeah. Because Harris, huge gay is next going to come from under the jaw and down and maybe somewhere around behind the ear and down at an angle. I don't like that angle. There we go. Swoops in usually somewhere around this collarbone line. Swoops in here to the neck. And then we can just draw his traps, his shoulders from here and back down. Okay, That's a good look. And Johnny Bravo actually, and like I usually say, if you want to, you can go and draw a bit of a line around things and stuff like that, give that halo effect. The main thing that I want you to knowing when drawing some of these characters is they're stylized. Okay, Just like how I taught you the rule of eight, these animation designers have decided to break the rule of eight for very specific reasons. Johnny bravo is supposed to be this, her, this cool, overly cool, overly confident type of character. The word machismo comes to mind a little bit. I don't know if you ever heard that word. Have you? Kinda like a ridiculous macho type of thing, right? And because of that, they kinda gave them overly ridiculous body type, you know, like two-thirds of it as upper body, mostly arms and chest and those types of things. Right. And then where do they get any more detailed and put it in the hair. So he's got, like I said, there's kinda Elvis type of look to it and stuff, right. It's like a huge Elvis him. Yep. And, you know, that's cool because they, they learn the rules and then they decided to break them to make the character that they want, to make the personality that they want, right? Okay, Joey, how's it going for your character? I think it's going pretty good. Yeah. Yeah. This one's not as hard as I expected. Yeah. When we looked at it, I was like, Jesus, one's going to be tough, right? Yeah. But that's kinda like how it usually goes as you look at something you like all my, you know, how do I draw that thing, right? Yeah. And then you just start hunting. You start hunting for any familiar shapes, any core basic shapes and proportions you can start with. And then you start to place them all around. And once we got that basic little skeleton down, right, That's our stick man simplified thing, right? Yeah, it was when it got way easier, right. And so that's what I want you taking away from this unit, is that even on these more complicated characters, still break it down to some basic shapes. And looking at the proportions of that character, bring it off to the side and do it again. It might not always be perfect. You know, like on this one, you might have had to rewind a few times or draw Johnnie a few different times on some scrap pieces of paper. That's okay. That's what I'm expecting. Even though we know with this unit, you're going to have material that you could print out and drawn everything, right? If you're trying to figure things out on a scrap piece of paper, drawing it off to the side, drawing it a bunch of times. It's cool. That's what I expected. Yeah. Okay. So guys keep practicing. Oh, I like your journey Bible. I think he turned out really well. Yeah, I don't think it turned out that bad. Yeah. He's got the attitude. He's got the Tilton, the the goofy hip thrust, right? Okay. So that's what I'm hoping with you guys at home. I'm hoping you're Johnny Bravo has that that hip thrust going on, right? If not, keep practicing guys and have fun. 6. Characters 5 Drawing Charlie: Hey guys, We're back and we're back with what unit? This unit number 5. So this is character number five, but I'm guessing almost everybody knows who he is. Who is Charlie Brown, Snoopy, Woodstock. Not Lucy. Do you remember? Yeah, Lucy is the one that always pulls them a football, right? Yeah. Yeah, that's the one I know this is good old Charlie Brown, kinda sad dude sometimes, right? Well, we're gonna do something different with this one. It's going to be a little bit tougher. But I think you know, because we're five characters in already, I want to show you how to challenge yourself a little bit, okay? So we're going to start with the same thing. I want you to grab a ruler, kinda bring a line along the bottom. And bring a line along the top. Okay. So you measure from the top of the head, bring a line, islands better. Measure from the bottom and feet bring a line. Okay. Now what we're gonna do here is called mirroring. I don't know what that is. That's right. Nothing's going to change yet. Okay, so let's do it. How we normally do it. What we're gonna do is kinda look for shapes. And the obvious shape here is Charlie Brown had its head, right? Yeah. That's kind of a mostly circle, a little bit of a squished to it or some like that little bit of something to it. And then from the head down almost from his meltdown, there's this kind of triangular shaped, right? Yeah. Christmas tree kind of thing, right? Yeah. Okay. And then he's got these little boat feet underneath. Okay. Okay. So what does a mirror to reflect? Every flex? Does it look the exact same as you know? Kinda does. It looks like you, right? Yeah. But it's flipped, but it's flipped. So that's what we're gonna do here. We are going to flip Charlie Brown. So we can even measure out a couple of things if we want here, you know, his pants is whatever it. And what we're gonna do is just a rough in the head. Okay, Nice and easy. Maybe a little bit inside the line if I can. Okay? And this is where our circle practice helps, right? And we're gonna do that, that kinda upside or the Christmas tree type thing for the bottom of them here. And we can even, but we're not going to do the feet yet. Because we're going to mirror it. I want it as if this Charlie Brown is facing this Charlie Brown and this Charlie Brown is kinda facing this way. Yeah, I mean, we're flipping it. So normally we just copy it. It looks exact same on this on the right as it does the original. Yeah. This time I want to change it a little bit and have him looking towards the other one, right? Yeah. So the shoes if we bring this one down this shoe, this boat would be on this side and then the one behind would probably be somewhere around here. Okay. The eye level would still be the same. But instead of being on this side of the face on kind of the middle right? It would be more like the middle left. And there's face like that. Right? Yeah. That type of stuff. Right. Okay. Yeah. So we're going to mirror this off. Let's see if we can start to do it in a little bit of a nicer formation rate. I might even start with the color doesn't matter really where you start, it's wherever you feel comfortable. And they start with the eyes. You can draw the neck in here. You can draw the head, the ears small on this side and it's actually going to be bigger on this side because this is the side we see more of now. What kind of squished his head there. See, you know what? It's okay to kinda move your paper around and kind of adjust it to how your hands flowing and stuff I got you can move it to how it feels right for you. Okay. So don't mind turning the page just a little bit to get the flow rate. Okay. The nose. Got that squiggle squiggle for his hair, right? Yeah. That's a weird squid. All right. Yeah. Something like that. Then surprise. Yes. Such little hair. Well, that's kind of a point of Charlie Brown is, you know, it doesn't have a lot of hair. He's kind of a cow. You look in Fellow. And you can play around with how you want the facial expression to be on Charlie Brown or something like that. But generally IIS and unhappy dude, right? Okay, so that's the face, I think might drop them off just a little bit. There we go. Okay. Make sure his eyes are up and down circular. They're not flat in any way or anything. Okay. Okay. This arm is on the back so I can come down here, cut it over and bring it up like that. His arm is just going to be coming straight down into a pocket type of thing, right? There's this pocket. Yeah. His waist band is actually just above that. And it kinda comes back out to to here, right? You can draw the little zigzaggy if you want on his shirt, you can even fill it in. Right? There you go. Now this is where it gets important because his leg this is going to be the front leg and this is going to be the one behind. So it's slightly behind their front leg is going to come down into a sock. And then he's got these big boat shoes type of thing with a really simple laces or something. The next leg is going to be coming down from here into a sock. And then these big boat shoes that are coming out with the simple lace that's mirroring? No, I think I could have brought it in just a little bit. My Christmas tree seems to be a little bit too wide, so I might want to narrow him just a little bit like this. But other than that, that's pretty much what I wanted to do. I wanted to mirror it side-by-side here. All right, so then I'll go and do the halo effect a little bit as you're catching up to me. How you do it? Almost done. Yeah. I'm just working on his pants right now. Okay. Charlie Brown's a simple dude, right? So you don't want to get too complex with the things that you're doing form and stuff I got. You wanna make them look pretty simple and everything, right? Yeah. The exercise here was about mirroring, being able to copy, but flip it, flip the image a little bit right at. So I know that's a little bit tougher. I know that it's not necessarily the easiest thing to do, right? It can be kind of uncomfortable to think of it in a different way. Yeah. But I think that it's important to have this skill. Is There you go. Okay. How would you Charlie looking? Okay. Almost got the feed them. Yeah. Okay. So listen, usually I'm pretty quickly these quick sketches and stuff I got I get it. If you're not as quick, you know, the kids at home or whoever's following along, even the adults at home. It doesn't always flow as quick as you want it to and stuff, right? And that's okay. You don't have to be as fast as me or as slow as me or whatever. The cool thing about videos is, you do it at your own pace, right? So at your own pace, if this takes 10 minutes, Cool. Mencius, cool, right? Yeah. If it takes 20 minutes, yeah, that's cool too. You know what? You got to find. The pace that works for you and with videos, you can stop it, pause it. Stop listening to my voice. And just do it at your own pace. Okay. So you're just doing the halo now? Yeah. Yeah. It looks good. Yeah. I think that looks really good. And I like both of us are leaving in our sketch lines and stuff I got. So you can see how we kinda constructed things, right? If you want to, you can go over any race things. It's no problem. You know, if you want to make it clean, let's say you're making a Christmas card for somebody or a birthday card or some. You don't want to have all those sketch lines in there, right? So get comfortable with cleaning it up to, you know, it might not be on every drawing that you're doing here. But, you know, start to get used to sketching very light and then cleaning it up when you need to know. Yeah. My turn finished. Yeah. Looks good. And I like that mirroring, right? It's not perfect. And each time you do it, you'll get better at it and stuff, right? Oh, put a belt on him. I think he's going to build I thought that was just ripples in the fabric. Might be. That's why I put like a little bit of rippling. Yeah, maybe that's your homework. You could find out if he's gotta build. Okay, it's not your homework. Your homework is practice this type of mirroring. And if you really like, if you're struggling with it, go back to characters 1, 2, 3, and 4, something and see if you could flip those ones to right. See if you can mirror them, flip them over, and see how tough it is to make it look like the same character. Just flipped. Have fun with it guys. 7. Characters 6 Drawing Garfield: Hey guys, we're back and we've got unit number six here with our how to draw characters. This character is character number 6. Don't know who is it that field? Garfield. Are you a fan of Garfield? Yeah. I am too. You know, he's big on lasagna and kinda anti Monday morning, right? Yeah. Yeah. Who can disagree with that, right. Like, Mondays are tough. Getting up out of bed. Okay. So how are we going to look at Garfield? Well, you know, you probably noticed as we've gone through these units in this course, the first ones were pretty simple, just one circle, a square, those kinda things. And they start to expand to rate they've started and Garfield expand all that Lasagna, right? So how do we do it? Well, as always, we go after it and we attack the basic shapes. The first one is easy. We've got this kinda squished watermelon oval going on for his head. Yeah. Right. Second one is very similar. We've got another squished oval watermelon for his body. Okay. Then it gets a little tougher because we've got these kind of big pontoon feet that look like squished eggplants or something like that. So you can kinda draw them. Imagine, you know, kinda like this, this basic aid plan squished type of looking thing, right? I think one of the key things to keep in mind is if we look at from top to bottom, his head and his belly or almost the same size? Yeah. Right. On his feet. And his head are almost the same size. So you know, in the other times we did this, we kind of went from measuring the top here, the bottom, right. And then we're doing, okay, Here's the belly, here's the head, and that's how we cut it. And that's that's a legit way, but there's another way to do it that you can, you know, here's a vertical line up and down, and then somewhere right here. Does that look about right? And kind of guessing? Yeah. Yeah. Maybe maybe a little wider. And that's, you know, we could laid out this way, there were almost making a grid of his body type. Okay. So if we come up here, we could fit That's squished. That's squished oval into this circle. We can come down here and we saw that it comes a little bit short on this side, right? So we can fit another squished oval into here. And then the foot is that squished a plant. Garfield got low squishing going on, right? Yeah. Airfields got this kind of squished foot and then behind it as probably we can draw on that. The next squished one, right? And so not only are we looking at it vertically, the height measurement from top to bottom, We can also be looking at the width, right? If we're wondering how long you can use your fingers and kinda like kinda measure it and say, okay, well, you know, three fingers wide or something like that, you could do it that way, right? Okay. Yeah. All right. So we've got the basics laid in. We know that he's got kind of a circle for an I here and a circle for an I here, right? So we can kinda start to lay that in one circle here and they overlap a bit one circle here, right? We know in-between them There's a circle for the nose. And then kind of this round oval down here, right? Okay. The other basic shapes we can see at the back of his tail, It's kind of a circle back here at two. So we can use that as a bit of, a bit of a landmark. Up here. We've got two kind of oval circle type things for his ears. And that's Garfield. Kinda looks like Mickey Mouse at this point. Does he? Why don't all, while Mikki with some really funny small ears, like Mickey's poor, sad cousin, maybe I don't know. Let's go with them. Okay. So where do we want to start? Well, you know what? I like to start on the face. So for me, I'm going to go, I want to change colors here. I want to go on the face and a rough in the nose. To start. I'm going to draw a straight line up here and then go off and do this one. I come up and do the other eye. And I can darken it up if I want, right? Yeah. Okay. There we go. I like stick in, you know, sometimes the faces. Hardest one. So if I do it first, it seems to work best for me. If I mess up, then that's the place I'm going to mess up on more often. Yeah. I he's got these really low hanging eyelids. So this 10 come down really low. This one will come down really low. And then he's got this. What are you talking about type of expression on his eyes right there, just kinda hanging out. He looks like grammar. Like Grumpy Cat, yay does. He's the original Grumpy Cat. I think. He's definitely got that title. Little v from below the nose there. And then following the curve of what we roughed in earlier. We can Ruffin He's little cheeks type of thing. And you could put in the details if you want some little dots. And now let's start to look like Garfield. Garfield below his, his cheek here. Whatever you can start drawing this line coming around and it's going to come all the way up to around the eye here. So you can start at the top or the bottom. It's your choice. Coming around on this side. And on this other side you want to give it some space for the body. So maybe come around this side a little bit. Coming up. I'm going to have to clean these lines a little bit later. There we go. Also starting from above the eye here you can do the inside of the year. And on this side, the inside of the year. And then running from the outside, you can kinda have them come over top. Running from the outside, have them come over top. So it helps to have that underlying sketch because you kinda you're getting the form of it all how it, how it flows, right? Yeah. Now, Garfield got this big belly, so we can come down here for this big belly starting kinda right in the middle here and draw this big belly coming over, right? Looks good. He's also kinda got a big backside. So we're going to come around and do this big backside to right. It's going to come around this side and do it. The only differences between this and the belly on the backside, he's got this kind of fat hump that forms kinda close to where his neck would be. Okay. Here we go. His hand. Now his hand is about. We can start with a circle again if we want. We can draw that circle in. And then we can come in. And, you know, bring the arm down, put it on the circle. Do one finger, another finger. I didn't clear enough room here. Another finger. And then he's kinda got this bump that leads back into the circle and backup to the arm. And then he's got this kinda shoulder folder. Okay. So far he's looking it looks like my guys got bags under his eyes. Looks pretty sleepy. Crickets Monday. It must be Monday. That's right. Good. Before we get into any other details and stuff, I think I'm going to switch this out just a little bit and move it just a little bit closer. Now the feet, what I would do is just like down from this finger on the left, from this one, bring the leg down. And from this next finger, bring the leg down, right? It's going to come up, kinda come into goofy thing. This one's actually going to come, come around a little bit smoother and hit the heel here. Now it depends how you want to do it. You want to start from the front to the back. What I would usually do is the front have one toe, the next row, the next row, the next row, and then bring it on back to the bottom of the foot. So you can do the same thing right next to it. Bringing this leg down, this leg down. Bring the foot over one TO another TO another TO and if you want to go in and clean up some of those overlaps there, right? Yeah. Okay. Coming down from his but behind his leg here in-between them both. You can have the tail coming down into this rounding bump back here. And it just comes up that away and give it a fat fold if you want or something like that. Alright. So how you doing? Okay? Yeah, I don't think you've ever drawn Garfield before, have you know? Okay. Well This is it my colleague in like a black and white Garfield comics. Like I colored it in with marker. Some of those original ones were owned before. Yeah. I got you. Garfield. Okay. Well, Joey still rolling on hers. So what I'm gonna do is start adding in a few details. I'll come up top and put three whiskers on one side, three whiskers on the other from the top of the ear. This kinda looks like it's coloring coming down as if they're actually kinda darken whiskers up there or something, right? Garfield also has these very distinctive, almost like a tiger stripes. But much when I'm here. Okay, So those, you can kinda draw them in as they they so they start on the line and then was squiggle all the way in. So you can see it start on this line and then squiggle in, start on this line and then squiggle in, start on this line and then squiggle and usually they follow along the edges, but not the belly. Okay. So you'll see it follow along the back here, follow along here, along his back, along the tail. They kind of flow this way. And then the end of the tail is almost similar to his. Here's kinda is dark at the end. And then there's these kind of sprouting type of coloring coming off the tail. And that's pretty much it for Garfield. He's a pretty simple character and stuff, right? Yeah, my Garfield looks really tired though. More tired than the original one I have drawn here. Not sure why that is. I think it's the bags under his eyes and I put it didn't mean to put that as much. And so if I really don't want it there, I can come in and kinda clean it up a little bit. He won't look quite as tired. Although, you know, tired really does soup. Garfield link. It's not like it's out of character for him or something like that. Yeah. And then I'm going to go into a little bit of a halo on it. You don't have to do. You know, if you're Garfield feels like he stands pretty well as is. Just let him be then sometimes the character, it'll look good just as it is right? For this one though, I want to come in in, Halo it up a line and a little bit like and look in like a sticker, especially these animation characters, I think they look good with these halos on. For the Halo, basically I do it any part that I could see the sky through him or whatever, the background and stuff. Right. So that would be in between the legs here, but not in between the the tail or anything. Okay. So Garfield? Yeah. You know, as soon as I cleaned up the eyes just a little bit that took away a bit of that that fatigue that I had going on there. He's still it looks unimpressed with Mondays, but not nearly as tired. Cool. Alright joint. How's yours coming? Pretty good. Let's say you had to shorten the legs of it. Yeah. You know what? I'm going to see your feet look a little short. Like they need to be longer? Yeah. Yeah. When we look feet here, they are ridiculously long. Yeah. Right. And what I'm looking at your feet, they look like they're much shorter than than the model and stuff, right? Yeah. So your choice, you know, like, uh, you don't have to clean it up or anything. I wouldn't worry about it. The point is like, the more we draw this, these characters and stuff, the more we kinda recognize and say, Okay, what did I do right? What did I do wrong? Where did I mess up? Where did I go? In the right direction and stuff. So on yours, I think most you are, Garfield looks really, really good. The only thing I think that really kinda is missing, it would be the length of your feet. So again, where did it go wrong? Well, if we're looking we're looking at it and saying, here's the width of Garfield. His head is pretty much that width. I think I went a little wide on his head compared to the original. His belly looks in proportion, but his feet are as wide as his head is wide. And so that's an easy way to judge it. Or your feet as wide as your Garfield head is wide. I think he kinda missed it on that. What do you think? Yeah. Yeah. Okay. What about you? I think what I did was I made him too wide. If I look at this gap between the width of the head and this gap with the width of the head mine when too wide. So it looks slightly off model not bad, but just a little bit and yeah. Looks like the off brighter, the one that they don't really like. I really let out a generic superstore for whatever it is, a brand like Walmart. While it's usually like a buck cheaper. Yeah. So so your Garfield is like a little bit cheaper? Yeah, that works. Okay guys, the point that we're showing you here, Listen, we could record it and record it again and record it again. So it's Garfield and my Garfield are perfect. And everything we did was perfect. And everything is perfect. But I think that would be the wrong way to teach and that's definitely not the way I teach. I want you guys to look that even, you know, even though we could do this 10 times or more, that we're not going to have a perfect. The point is just with practice, you keep getting better at it. All right? If you were to draw Garfield or a 100 times, I guarantee you'd be way better on that 100th time than the first time, right? Yeah. So guys keep practicing it. Don't worry if it's a little bit off. The next time you draw it, there'll be just that little bit better. Have fun. 8. Characters 7 Drawing Mickey: Hey guys, we're back. And this is unit number 7 of how to draw characters. That's right. And this character, well, I gotta see he's one of the most well-known characters. This is Mighty Mouse. Mickey Mouse. Oh, sorry. Yeah, that's right. It's Mickey. And everybody knows Mickey, right? You know, like he's a beloved character. Very recognizable. And that's kind of a problem because if you're drawing a character that everybody knows, soon as you get something wrong, people be like, Hey, something's wrong. And they're not always sure what's wrong, but just something seems off, right? Yeah. Legs are too long, noses too big. Something seems funny, right? So you want to try to keep it on model. And of course, how have we done that? Well, we look at proportions right? Here's the bottom. Here's the top of the head. Here can be a pant leg or something like that. Here's the bottom of the head. Here's, here's an ear. And you can do that kind of thing, right? You can have these proportions in place, right? Drawing these lines across to really help you. How else, how else do we keep it on model? Drawing the shapes inside the character, finding the shapes. That's right. I'll just hunting down these familiar shapes on mickey. You know, we're looking at the circles that make up his head, right? On the circles that make up the ears. Those are very familiar with it. They kind of overlap the head a little bit there. All right. He's got these kinda doughy feet going on, right? Yeah. Big deal. We feet. Okay. But one thing that's interesting is his body is more of a bendy rectangle and I get, it just kind of bends with whatever his attitude is and stuff, right? So this might be kinda tough and listen, I'm going to ask you if you can, I want you to draw this one are right next to him. Okay. So usually we draw over on the other side of the sheet here a little bit more. I want you to draw it in much closer this time. So I'm going to come in really close and I'm going to draw the circle for a head. Circle for an ear. And another ear. Right? I'm going to draw this. Then the torso that comes in this way. I'm going to draw these kind of goofy, I don't know, pillow, feet He's got here, right? Kinda like that. And then things kind of connect or something somewhere around there. Yeah. Okay. His hands are quite large here. They're on either side. So this one hand can go here and it's going to come up to an elbow and then into the shoulder. It's other hand probably going through the body a little bit on the other side of it, right up to the elbow and then into there. And then of course we've got these recognizable things like his, his nose in the middle, above the nose, he's got to cool eyes, right? The type of thing. Okay. And that's basically Mickey minus the details. Yeah. How you doing with the joy? Okay. You seem a little bit behind? I am and I'm taking my time. Okay. Cool. My stuff. Okay. Well, you take your time because honestly, this unit is going to be one of the hardest we've done so far when it comes to characters. So far, Mickey isn't that tough though. And so I'm gonna, you're probably wondering why is it's going to be so tough. Just wait, it's common. Okay, but let's focus on what we've got ahead of us right now. What we've got in front of us is this basic Mickey. Alright? Okay, so we're looking at him and saying, okay, well, where do we start? The face? Faces and easy place to start. Start with the nose, right? Start with a big mouth that goes underneath the nose. Little hooks on the end and melt that drops down. This is kinda keeping center with his face a little bit. He's got a bit of a tongue inside, right? A mouth that comes below it. And then these come up into cheeks. They come around the mouth. Okay. There we go. We've got Mickey with these cheeks. And listen, if I'm going too fast, you can slow it down, pause it anytime you want, right? Hopefully you're working on like being able to watch this on an iPad or something like that, or even on a phone, you want to be able to slow it down and pause it. We're going to have the bridge of the nose here. And then his eye will come up and down. And this I will come up and down. And the original eye position he's got on this one is kinda looking off to the side here right? Now. His face is kind of interesting. It kinda comes from the eyes and down this way, from the eyes and down this way. And it joins in with that cheek thing that went around his mouth a little bit. Right. Okay. So that's Mickey so far. We've got the the top of the head that flows into one ear. That wasn't a very good circle. Let's try that again. Flows into one here. Not even following my own circles here. And this other one flows into this other ear. I should follow my circle a little bit better. Okay, good, good, good. And then it's going to flow on the outside of the head down to his cheek. And this one's going to flow on the outside of the head down to his cheek following our original circle, right? Yeah. Okay. Maybe now, like I said, I like to do things that are in the front. The next thing that's in the front as his hand. So I can start with the hand here. It's going to be one knuckle to knuckles 3, and it kinda goes around. The bottom of the hand, comes in here. And there's little kinda little wiggle line there right? For the cuff. His arm is here and then there's this band that goes around it a little bit. This goes up into his arm, up into the elbow. And then this is going to come over here and down into the body. And this is going to come up towards the neck. Now, this sharp edge isn't really good. Mickey doesn't have a lot of sharp edges or anything like that, right? So you wanna kinda rounded a little bit. Keep it nice and round. Mickey shorts or pulled up really high. I don't know why. I don't think he's a cramp up. And then it comes up to a belly. And then the belly kind of comes down. Let's see if I could do this a little bit better there for you. Comes out to a belly, still bad, comes out to a belly. And then the belly kinda comes into his crotch, into this pant leg and this comes down into a pen link there. On his belly, he's got two big buttons. And this other Pentland kinda comes out. It also comes down. There we go. And of course his body would come up that side. Yeah. No better. Okay. So like I said, I like working kinda what's in front of us, working our way back. So the next thing would be this hand that comes around here, kinda hooks in this way. And that's the kind of POM that's folding over. And then the finger comes in, rolls around. Then we've got that little band for the around the wrist goes into his arm towards the double this one, it comes towards the elbow and it kind of rounds out and bends over. And if we want, we can show a little bit underneath if we want, keeping it about the same width as this. It kinda got blacked out on this side. Alright. Okay, Mickey's looking not too bad so far. All right. If I take away the the orange backing and stuff, it looks okay with his foot here, depending how you want to do it, you could do the shoe first and kinda just bring it around. Bring it up towards here, give it that band of the cuff type of thing and then bring it up into his leg. That could work or if you want to, you could work from the leg down, you know, come down from here, give him his leg. Give that cuff start to draw on the shoe and do it that kind of way, right? It depends how you want to do it. And then he's got this tail that's coming out somewhere around us, but right. And it kinda just comes up that away. Okay, so that's Mickey. If you want to, you can come in and darken up. You can use your like colored markers or something like that. You can use your pencil to shade it. You can blend it if you want. It. It's really up to you how you want to color Mickey and stuff, right? Yeah. You can do it harsh black. You can just kinda do what I'm doing right now. Kind of a squiggle hatching type of thing, right? We've talked about this in some of the earlier basic videos and stuff, right? Different ways of shading something, right? Okay. But you want to show where the black is on Mickey here. Okay? So we've got Mickey done in. All right? But I want to do something else with Mickey. And this is why I asked you to leave some room because I want you to do the exact same thing, but we're going to shift a few things around. We can draw Mickey's head in. We could draw his year the exact same way we kinda had things before. Right? Here's the middle line. Is knows as somewhere around here, above the nose, right? Okay. His smile there. We've got this bendy torso going on, right? Okay. But let's change some things. Let's put one foot out here more. One foot over here more. And why not? Raise it up? One hand here and one hand maybe here. Okay. So what we know that like his shoulders were coming from right below the head here. So it kinda go like this. And this or he could even go straight just like this, right? This foot could come down to here, this foot could come straight. Yeah. You know, we're changing some things here, but it's not such a drastic change. We already know the basic outline of what Mickey Mouse shorts are going to be up here. His belly will be eaten somewhere around here. Right? His buttons actually has shorts probably be higher because there's buttons are usually a pie, that type of thing, right? Maybe his tail could be all like that. So we want to try to take Mickey and change a few things. So listen. This has already been a bit of a long video. If you need to pause it here, take a pause, take a break, and then come back. And I know this looks a little scary for how we're doing it and stuff. I got that we're changing things now, but I want to show you that if you know the basic skeleton, then you'll feel much more comfortable with moving in arm, moving a foot, that type of thing, right? Okay. So or same thing. We're going to go in and we start with the face. Who need to change colors here. I'm going to put in the nose, put in that bridge above the nose, put the eyes in. But this time, why don't we move the eyes up a little bit or something, right? Have the smile. Have an even bigger maybe with the tongue a little bit more this way, right? He's kinda looking up in this direction now. This can come over, this can come over. It's going to come around. It's going to come around. I think last time I put a little bit of a lip in here or something right. There we go. Okay. So we've got Mickey going on pretty well so far. Come up here for the head. It's going to come here to the ear and around. If I could draw it as circle or even better. Yet my circle suck. Okay. All that. He's looking really lopsided. I gotta move this here. This looks horrible. I think I want to have the head here and maybe I'll put the year. Maybe something like that looks a little bit better, right? Okay. So now I'm going to maybe come, come in here. Draw the body and really quick. Here's his shorts. Here's the the grand Paul waistline. He's got going on. Right. And I've got the two buttons going on there. Right. His shoes, you know what, we can kinda do the same kind of thing. We can just kinda draw big cushion, draw that little donut type of thing that is the cuff, right? Have a bit of a line in it and then have this going up to the leg. And then we can come in and erase that line. So now that's that's his one shoe, right? This other shoe, same type of thing. We can draw the big cushion, draw the little donut, draw the leg coming up out of it, and then clean up that doughnut. Right? There we go. Looks good. Okay, Simple enough, I can even do the Tailwind now. Good. Okay, Now the challenge is going to be the things that we moved around. While we know that there's a little cuff type of thing. Right? A little cough doughnut almost on either one so the arms can just go straight out to that. I mean, that's too thick for his arm or something like that. Something like that. There those arms work. Those arms look pretty good. The hand is going to be a little trickier. So what we can do is just follow the shape of the handle little bit, right? We've already got this kinda roughed in just a little bit, right? We were kinda following the shape of the circle that we've put in here. Now we want to put it out to a thumb. The thumb can be held that side. Right. And then the rest of the hand can kinda like I said, he's only got a boat, three fingers or something like that, right? We can do something like that. Okay. So same on this side, we want that bottom half. We want this middle of the palm. We're going to come up into a bit of a thumb. And then the fingers are going to come and do something like that. Although I'm kind of running out of room, running into the other Mickey here, right? Yeah. Yeah. I think I would make it a little smaller, a little longer if I was to because I'm running out of room here. I think I would kinda make it something like that. I keep smack in the other making the face. So that's not working. But I think you can see how this is working though. We just changed it. We changed it that a new pose for Mickey, right? From the original to now he's, you know, spread out in a little bit happier, right? Did you do a two joint? I'm working on my right. Are you working on the new pose or the first one? Okay. It's not easy. And listen. That's why I said that this one is going to be a tougher video than most of the ones that you've done so far, right? Because we're not just copying, we're starting to create. And that's what I'm hoping is that as you watch these videos, you're getting the fundamentals down, that you can start to draw these characters, to create your own poses with these characters, and then move on to creating your own characters. Sure, we can copy for awhile. But at a certain point we want to start creating ourselves, right? And so I think it's important to learn some of these fundamentals. So here we, we've been talking about proportions. We've been talking about basic shapes and stuff I got. But now what we did here was we talked about the hinge, changing a joint and hinging it, that articulation and moving it in a different direction, right? Always important to be able to do something like that. Okay guys, That's our Mickey. We've played around or I guess I could do his nose a little bit. That makes him a lot more like Mickey now. Cool. We played around with the posing and I'm confident, I'm confident that you guys, maybe not the first time you do it, but the second or third time that you're going to feel a lot more comfortable moving things, moving his feet, moving his hands, moving the eye direction, whatever it is, as long as you guys keep practicing, I know you can do it. Hey guys, have fun. 9. Characters 8 Drawing Homer: Hey guys, we're back and we've got a unit number 8 here. This unit is one of my favorites because I'm not going to lead it. I listen every time we do these units. And it's good so far. I've been showing you how to find the shapes, how to find the proportions, those types of things, right? But it's always me going first in showing you. This time we're going to switch it around. This time. It's the kid going first. So some pressures on my kid here. So there's one of two ways you could do this. You could either just follow along with Joey here as she figures out Homer Simpson. Yeah. Or you could actually throw it on pause in about ten seconds and do it yourself. I want you to look for what are some of the main shapes of Homer's body? A hint there round. Okay, so here's a chance thrown on pause and to do it yourself, to start it off. If you didn't throw it on pause. Here's Joey to take it. Okay. So I like to start with a preparations. So you should probably draw a line at the top of the head. Okay. And also you should probably draw a line at the bottom of the feet. Okay. It is so that you can keep it consistent. Jalal, whole thing. Any other lines you usually do? Yeah. So I do one at the bottom of his chin, his double chin. And we got you. Yeah. Okay. And then I'd probably do one at his shirt level like when it finishes. They could just for reference. And the night also do one at his crotch level. Okay. Cool. Yeah, don't do that. Sit. Let's all the lines I do. Okay. Okay. So once you've drawn all of those lines, I'd find the shapes in Homer j. So where do I look? So I'd start off with the face. So if you can see, it's kinda like a bean shape. Okay. Yeah. So just draw that. And then after that, I do a small circle for like his upper part of his body or whatever. It's called. It's all kinda mushed together in Homer, also, I do another big circle for his lower part of his body. In, I'd say this is optional. But if you wanted to, you could do kinda like soft rectangles for his legs. And then first feat, I'd just do like a circle because then you can add it in later or what you want to call it good. So then try and redraw that onto this side. Can't go bring it over and draw his, I'm gonna start with the big belly because that seems to be the the biggest thing on them. Then you said that another smaller one fors his chest circle kind of thing, right? Yeah. Then he's got this big kinda melon head thing floating up here. All right. Yeah. And then we've got these kind of tube legs coming down, right? Yeah. Okay. Cool. And you know what you can either kinda like when maybe where the shoulder would be and maybe where that hand would be or something, right? Yeah. That's what I'm doing, right. Sometimes it's nice to get a mark like, you know, here's the head, here's where the eyes, the eyes, the middle of the circle of the eyes is about halfway. So if I do about halfway, know maybe the eyes are somewhere around that level. And then that can kind of help me judge where the nose is going to go and the mouth, that kind of thing. He's got the big, huge mouth, right? Yeah. Cool. Okay. I think that's a pretty good start. Looks good. Okay. So I'm gonna take it from here and I'm going to start to add in those lines, right? So what I'm gonna do, and like I usually do, is start off with the face a little bit. I think that's the one that's the easiest to mess up on. So it's the one that I really want to make sure I've got. Now, I could draw a full on. I want to change back to black here. I can draw a full circles for the eyes for now. Okay, Let's try that again. Full circles for the eyes. But then what I'm gonna do is I'm going to come in and erase some of this. Okay, You can see Homer doesn't have the eyes up top here, anything like that, right? Okay, The other thing that Homer is, god is coming out of the eye here is a nose that comes out, kinda straight actually comes out and then from under the eye, it comes around and kinda encompasses his mouth and jaw and all that kinda stuff, right. And again, I can come in here and kinda erase that part of the eye, right? For the nose and polygon stuff, right? Yeah. And then I'll go in and add in an eyelid an eyelid and give them kind of a SPC, SPC look gate. So from the bottom of the nose comes the first part of the kind of mouth into the lip, comes into his mouth here and comes into a little hook of a lip on the back. As we're looking through, we could see it going through the mouth a little bit there and we can see the other side of it. And then we can add in the tongue his hairline, whatever his hair is, seems to be kind of there. And then the ER comes from below it. Usually the ear is kinda eyeline on most characters, but not on Homer. Homer's got this kinda droopy ear thing and it leads down into his neck. The head is not going to be as kind of oval was first sketches. It's a little bit more flatter up top. I think that looks a little bit too told though I might back it away a little bit. There we go. Something like that and bring it down. He's got these very pathetic looking little strands of hair over. Like Piazza comb-over. He definitely does. He definitely does. Okay. Next thing, maybe we'll start it from the neck, bring it around, bring it down, and we're doing that color, right? And it's going to come back to the jaw here. That can come down this side, right? So there's color. We can fold it over on this side. And actually this is going to form his boob. So it's kinda like or as MOOC, maybe Luke, his Man Bu Yang. And the color can go onto the other side of that is going to come down. He's going to come to his belly. And you know what, We can just cut this straight across and come up this side right over here. We've got this his shoulder coming and you know what, I didn't I don't think I drew it big enough. It comes down pretty far. His shoulder on this side. I'm going to draw that again. There we go. And you could kinda match it. And going across on this other side, have a coming here and then the arms just tucked over there. We're working our way down. We might come from here, draw around the hand, one finger, two fingers, three fingers, and then kinda the back of the hand. And it's going to come down this way. So I can erase a little bit there and erase inside the head itself. Coming down, I've got the sausage things, right? This can be part of the pants. The pens can come here. Then the pants are going to come down, cuff and then come down again or go up depending on your style I've seen or what I like, how they sliced a little bit here. So I'm going to come down, come across and then come more straight up. That seems to be the keeping of this tau. They're kinda like this, this, this style, right? Not this, this. So you kinda watching the, some of the stylistic choices these guys are making as they're drawing them, right? So the pens come down on this side too and slice over. His shoes are quite simple. It's just going to be a little protrusion here, coming under. And then an ugly little heel. Same thing here. Little kinda pyramid or triangle thing that has a rounded bottom. And that's homework. That's really how simple he is. Homer's definitely simple. So that's why I wanted you guys to take take the reins on this. And I got to ask, did you really put it on pause and try to do it yourself? It's okay if you didn't if you let Joey take it once or whatever and stuff. But I think it would be really good if you did it to you guys following at home. I don't want you to just follow me. I want you to start to understand the reasons of why we're doing these things and stuff, right? Why we're looking for the shapes. How we see those shapes. For me, I'm getting used to seeing the shapes in almost every kind of character and object nowadays because I'm doing it for awhile, right? But I know you're a little bit new to it. So you guys gotta really hunt for those shapes and see where you can find them and how they recognized for your brain. You know, I might see an oval. You might see like a pentagon or something like that. And that shape is easier for you to recognize. And that's okay. It doesn't have to be the same shapes that I have rolling through my head and my vision. You'll want to respect the character, what they look like and stuff I get. But you also want to respect how your brain functions, how you view these characters, and how you start to piece them together and stuff, right? So again, if you didn't do it, maybe go back on some of these characters that we've already done and just kinda look at it and say, well, how would I look at these shapes without ed, without Joey telling me what these shapes are. What shapes Do I see before I really get into it? You know, I think that's really important that you start to find your own shapes in it and stuff, right? Yeah. Okay. Joy hose, Homer, do it on your paper here. He's doing pretty good. Yeah. Yeah. Okay. Almost done, looks like about 90 percent or so. Yeah. Just finishing up his feet and then I should be done. Cool. Don't forget the heel there. And that's your homework. Yeah, he looks like I can say, actually, I think a day's Homer is, is a Homer that really matches the character. Kinda lives his life a little bit dazed and confused, right? Its head up in the Cloud. There you go. Okay guys, so that's homework for today. I hope that this character kinda pushed you into thinking of how can you find the shapes right? Now. Know even though we're learning how to draw these characters, I'm trying to teach you how to kind of get the creating your own, right. I hope that's the goal that we don't just copy what we start to learn how to create. And if you're not there yet, don't worry guys, just keep practicing. 10. Characters 9 Drawing Dipper: Hey guys, this is unit number nine and character number nine. And I think we're coming to the end of this course. You guys have been doing so well and I'm so impressed by everything you're doing. Okay, so who is this character? We got in front of us, deeper, deeper. Why they call them. I don't see a difference. Yeah. It's because he has a birthmark on his forehead that's in the shape of a different constellation. Yeah. Okay. I kind of get that. I don't see it here, but I get it. Yeah. Okay. Listen, because we're coming to the end of this course. What I really want you guys to do is I want you to take charge on this one. I want you to pause the video and you guys you at home to try to find your shapes. Okay. So hit that pause button. I don't know if you're doing it yet. Yeah. Try to hit the pause button and find all the shapes that are important to you. The head, the body, the, whatever it is. Okay. Take time on your own to find those shapes before we get into it. Okay. All right. And that's probably enough of that. I'm really hoping that you took the time to hit that pause button and you know, finding those pieces yourself, finding all the shapes that are important to you. Going did you do it? Yeah. I'm kind of impressed. I wasn't sure that, you know, I'm I don't know what the students are doing it at home either. I hope they listened to me, but students do what they do, right? I'm I can't force them to do it. So we'll see. All I can tell you is that if you start to do that on your own, you'll be much stronger of an art student. Okay, So let me see if I could find what I think is important here. The first one might be this circular, circular thing around his mouth a little bit, you know, the muzzle area right. Then going into his head. I've also got a bit of a upright oval going on. All right. Not bad. Let's see what's next. I could use his eyes. Yeah, I could go over the eyes a little bit and stuff. I get there pretty easy landmarks for me. Yeah. I can even do this hat. You know what? This hat is kind of a weird shaped thing and stuff I got, but I can use that as all I'm searching for as these landmarks, right? You know, the body hanging off from the top end a little bit, right? These big banana boat shoes type of thing he's got going on. Very silent. And even the hands I always find, I think you guys know this by now. I'm doing the feed and doing the hands. Pretty important, right? They helped me find where everything should be from top to bottom. You know, I could put my markers there, but the hands, the eyes, the feet, they really helped me lay it all out. So I can draw some horizontal lines here trying to figure out the proportions. And if you look, wow, look at this upper body proportion. That's the upper body. Down here is the lower body. Upper bodies edit brown, Blake, 80 percent or something. That's crazy. That's definitely not the rule of eight. But that's okay because just characters got its own style, right? Okay, so let's get into it. Let's draw some of these ovals. Here's the muscle part, right? Going up into the head a little bit nice and smooth, nice and ugly circles I've got going on it. Well, whatever they are, ovals, right? Okay. Now we're into some circles doing, doing the eyes just a little bit, right? And these are still pretty rough, right? You should be sketching really lightly, right? Let's go on to this ball cap. I can see it kinda touches that top line there, right? Cuts through the eyes just a little bit and it comes back up to that top line. Okay, what's next? The kinda drops down from the head down into the body a little bit. And this body just as basically like a hanging tongue. It looks like, right? Yeah. Then we're moving on. I like to rough in with the hands would go, you know, it really helps me kind of organize myself where I would put everything right. Figuring out with a feet would drop down these big, ugly Banana Boat feet. Yeah, not bad. You know, I could throw a couple more things if I wanted the ear or something like that, but what will you join? You think you've got it plotted out. Okay. Yeah, good. Okay. Okay. Good stuff. Yeah. I can put the shoulder here and just kinda bring up the limbs. You know, you kinda can draw through it. Sometimes this other arm on the other side of the body can't see it really well, but it's there, right? And I can even draw in the legs, put little knees in. Right? Even though it doesn't look like he's got him on his character array. This will help you understand like for articulation, what if I wanted to make it look like he's stepping raising that leg or something like that. It'd be good to know where that knee might be and stuff. Right. But we're not gonna do that here. We're not going to move this character around. If you want to, you can, That's cool. We've done that before, right? But not for. Deeper, deeper, deeper, right? Okay. And I think we're doing pretty well. Joe, you're going to move any of his limbs or anything now? I don't think so. I think just for practicing right now, I'll keep them the same. Okay. Well, why don't we go on to a little bit more of the darker lines on it. All right. You know, I separate using orange and black just because I think it's easier for you guys watching this on video and stuff, right? Sometimes I'll just sketch really lightly with a pen or a pencil rather. But the colors just make it easier to watch, right? Yeah. Okay. So we're roughing in the eyes a little bit here. Cute little nose, funny, little shape, mouth. It doesn't have to be perfect how they have it with the tongue in there and everything in the teeth. Right? Putting the eyeballs in now or you know what? I think I'm going to put them looking off to the side right now. I want to throw some variety into the right, start to clean it up so that, you know, like some of these lines aren't gone through everything, right? But the brim of the hat rolling around a little bit. And there we go. I actually think I made a little too big, but that's not too bad. From the top here, want to put a couple of tuffs of hair, finish out where that's. His headline is. The light, not the headline, but the line of the head, right eye. It follows that original oval that I had roughed in there. Right. Okay. Where to next what do we think? What don't we had around this other side? Maybe put in the ear first, that's an easy one, right? Draw it on in there. And then a couple more tuffs of hair dropping down from the side, their family soft sideburns, some hair at the back. And then what I can do is kinda just finish off his face here. We're going to probably erase some parts of it and stuff I get. But, you know, it's nice to know where it is keeping that nice circular thing, right? When it a little bit smoother here for me. Not bad. It looks a little cuter than I how I had it, right? Yeah. Okay. Next up is this big vest thing. Where should I start? I don't know whether it started at the top of the bottom. I'll start bottom here, bring it up, fold it over for that little color part, and then bring it down. It's a really puffy vest, right? It's like a lifeguard vest or something. Bring it up on the other side here, kinda draw it in. And then he's got some t-shirt underneath or something like that, right. Nice and easy for the t-shirt? Yeah. Okay. I can clean this up just a little bit. Not bad. Okay. And at any point you can pause it. It's okay if you're feeling a little bit behind him going to rough in this arm. His arms are so simple and his hands are even simpler. They look like pause or something like that. So you can draw them, erase the best gone through them and stuff I get maybe put that line of where the t-shirt line is on it on the arm there. Right? Right about there. That looks about right. Okay. Then arms closest to us. And I kinda wanna leave that up, the second arm for a little bit and instead do his shorts. They're going to follow the body line around the crotch. They're a little bit dropped down into one leg and carry up kind of is but the other leg is going to fall down. And there we go. He's got these cool Schwartz going on. I don't know how cool they are, but you know what? I could draw straight down from from the shorts and go into the feet. I could draw that hand behind. But, you know, sometimes I like to hit certain certain marks first, right? And for me, I think that I think the shoes are the place to go. These big banana shoes seem to be important or something. I don't know why. Yeah. Well, you need fees If your adventure or was he an adventurer? Yeah. Okay. Well, that kind of works. Yeah. So what I'll do is I'll go down and start at the top little bump of a shoe, carry it over into that big banana thing. How that looks wrong? No, no. Might take a couple of stabs at this. That's still kinda wrong if some are missing. Okay, I'll do it around and then the back-end is kind of straight. Right. Like where his his foot goes into it and stuff, right? Yeah. So I can draw it straight down into that street backend. And that now that I'm doing it that way, I can see the problem was that the backend needed to be really straight, right? So that's where the leg, the ankle, all that kinda comes in. Some little knee high socks, right? Some stylish ones from the seventies, I think. Ok, and now I can start to draw this line going straight down with his, his arm on the far side of his body, right. Might be a little hidden. But I think that's because my jacket was too puffy vest. Right. So I can tuck that in just a little bit. It's a puffy vest, but I think I pumped it out too much and I can have the arm going back there, kinda find where that sleeve is dropping down into the really, really simple hand right towards the thumb on there. And yeah, I think that's good to go. Oh, jeez, I forgot something. The logo, the little tree up top. If any of your characters have logos, make sure you put them on there that really helps you identify who the character is. Not loving these eyes though I want to bring them into the center a little bit. There you go. He's back looking at us. I like it. Nice and simple. Dipper. I like it. Okay. How's your dipper coming? Yeah, yeah. Okay. Listen, we're coming to the end of this course and stuff I got right? And I think it's important that you recognize some of the skills that you've learned. We've learned how to identify some important shapes. We've learned how to find the proportions of those characters and stuff for it. We've learned how to do haloing, like I'm doing right now a little bit. And we've learned how to look at that basic skeleton, whether it was the rule of eight or whether it's, you know, changed and stuff again and how we can start to expand on it a little bit. All right. So what do you think your biggest takeaway from the course was? That it's important to learn the shapes of your character and have good proportions. That you can break the rule of eight. Yeah, All of those are good. And the thing is like, because a lot of these are established characters. If you mess around a lot, I mean, like not even lie even a little bit. You know, if you put Garfield eyes too small or something like that, people will know something's wrong, right? So it's no problem. Just realized that you'll get people looking at your drawing. They'll be like, Oh, what's that, right? Yeah. But then that's where it becomes really cool. Because what do you do? Do you practice, you practice, and you create, right? Like we've been teaching you how to copy. And copying is great. But now you're learning how to create. And that's really the next step for an established artist. Yeah, yeah, I think that, you know, everybody when they're young, they start yes. Kinda sometimes are tracing, then you're copying. But now through these courses, you're learning how to construct, how to build, and that'll help you create. Okay guys, so what's my usual homework? Practice, practice, practice. You do not sound sincere. But you're right. Yeah. You know, like it's always just keep practicing at it. Keep at it. And you know what? Go ahead and email them into US. Me enjoy. We want to take a look at some of your creations. Above all guys though, have fun with it and enjoy it.