How To Draw Characters Like a Pro | Toni Justamante Jacobs | Skillshare

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How To Draw Characters Like a Pro

teacher avatar Toni Justamante Jacobs

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

    • 1.

      Intro course


    • 2.

      Lesson 1 How to draw a dummy


    • 3.

      Lesson 2 Warrior tutorial moodboard references


    • 4.

      Lesson 3 Warrior tutorial 1


    • 5.

      Lesson 4 Warrior tutorial 2


    • 6.

      Lesson 5 Warrior tutorial 3


    • 7.

      Lesson 6 Warrior tutorial 4


    • 8.

      Lesson 7 Warrior tutorial 5


    • 9.

      Lesson 8 Second warrior part 1


    • 10.

      Lesson 9 Second warrior part 2


    • 11.

      Lesson 10 Second warrior part 3


    • 12.

      Lesson 11 Second warrior tutorial 4


    • 13.

      Lesson 12 Second warrior tutorial 5


    • 14.

      Bonus Material Third Warrior


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About This Class

"How to draw characters" is a video course for artists who want to improve their drawing skills and learn how professional concept artists design characters in Photoshop.

Learn the methods and techniques used in character development. This course will set you on the right path to becoming part of the evergrowing videogame industry, and start making a real income from your passion. 

Your instructor, Toni Justamante Jacobs, was able to build up a full-time income in only a few months after mastering these skills to create characters at a world-class level.

What is Included in the Course?

  • More than 4 hours of video footage.

  • More than 2 hours of narrated video lectures divided into 11 lessons.

  • Almost 2 hours of bonus footage.

  • Course characters PSD file.

  • Moodboard PDF files.

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1. Intro course: welcome to this curse on how to drug characters. Learn how to the sign Carter's like the Professionals do My name's study host on Jacob's and I'm a professional illustrator and concept artists with more than 10 years of experience in the video game. An illustration industry I've worked for prestigious studios like games, Worship, Game, Love, Fantasy flight games and Take two interactive developing garters on illustrations for franchises like Warhammer 40 Gate Order and Chaos, Dragon CD Most Relations, or Lord of the Rings. This curse will provide you with the necessary tools to be able to drop Carter's as professional illustrators and concept artists to you will be able to see all my creative process you never more than two hours divided into 12 narrated lessons. We will begin by introducing basic concepts. Off anatomy and proportions will show you my method. We're looking for references to create a character. We will decide to different characters a night and abandon. Both will be part of an apocalyptic universe where human beings have returned to the Middle Ages. But where there are still certain vestiges of technology, I will show you how to grow the basic proportions of the Night World Row, a dummy that will services a base, on top of which will throw the clothing, weapons and other details of the Carter. I will also show you how I draw a variant off our first guard there, once it is finished, thus expand the amount of options we will have when choosing the final character. Next, we will start growing the bandit who will repeat the process we follow when creating the night. But with the difference that we will introduce a different pose and totally different costumes. Finally, Anise Abbado's you will watch how I create a variant off the bandage. And also how you create 1/3 new Carter using the Knights dummy. These bombs videos will allow you to watch all my creative process without anything on how I put into practice what I teach you in an aerated lessons. Do not hesitate and join me in the first lesson. But I will teach you how to create the basic proportions off a character quickly and effectively See you in the first lesson. Bye bye. 2. Lesson 1 How to draw a dummy: welcome to this. Instead, by step tutorial. Here you will learn how to draw the human body from a 3/4 view. I chose his view because the majority of tutorials teach you how to drop person from front or profile view. My objective here is to draw what proportion dummy. Teaching my students, I realized, for beginner, is not easy. If we focus on creating addameer instead of going from muscle groups when drawing a person , New East tend to focus on drawing perfectly the biceps or the victor of muscles and forget about a big picture of world balance proportion. As you can see in the image of off, I placed eight heads, one on on top of each other. Those eight heads will represent a deal. Human body proportions. They will help us measuring the different parts of the body. I was to start drawing a torso. The reason is that the torso, the dates, the whole position of the body, once you have the source on the hips placed to drove the head on the limbs will become much easier. Once I have the doors drone, I proceed to divide the reef gates from the abdomen with a curved line. This graph line will cross the center of the torso, and it is an entire part will mark the end of the breast bone on the lower chest. Finally, I like to divide a torso with a vertical line. This line goes from the neck to the hips. It is very important because it will help us to understand where the division between both pectoral muscles will be placed on where the belly bottom will be also located. Drawing the hip will be the next step in our journey. I usually draw the hips on the crotch. Lackey Forward Army was wearing a sort, a short swimsuit for a male on the world. It simplified the process. Creation makes things easier to understand. Once I have a torso on the hips place, I will. I will move forward and start drawing my limbs. First of all will be the shoulders. I've seen many people growing the shoulder like a couple off X shapes spheres. My case. I do the same, but I also like to draw the top part off this inverted egg. Flatter. The reason is this allows to create a sending line that goes from the traps and continues to the deltoids they resold. It's much more natural through and creates a more fluid body line for the biceps and triceps area. I will drop cube for each farm. The stoop will become narrower on the bottom. Here will be connected to the elbow. The elbow will be situated at the same height off the floating ribs on the sides of the torso. For the forum's rule draws a tube for each arm. Like before they will be called narrower on the bottom bar. In this case, that bottom bark will be the wrist more or less. Both wrists will be aligned with the crotch on the heap areas for not over complicated process Too much. I would rather handzus to fist. I will draw them quite a schematically for the first place, frontally ruled Rob Iggy Regular square for the bomb. The fingers will be drawn. Us little rectangles for the hand play sideways. The main body off the hand booby rectangle on the fingers again will be drawn. A single squares. The next chapter on our journey will be to draw the legs For each thigh. We will draw a thick tube the stupid will connect the hips with the knees the same way we did for the forums. These tubes will become narrower on the bottom area, where the thigh go. Next with me, they stand the distance from the crotch to the knee. Cups will be two heads. Step will be to roll the sheen area the carbs. It's very important that you check their calls. How long, drawing them the exterior side when one watch the elect, which is placed frontally, the exterior part of the car house like like a small bulge. Meanwhile, the interior side has, ah, way bigger bulge that it goes way down. This is because it carves. Anatomically are half are divided in two parts the bigger partisan ISS towards the inside of the leg. And it's bigger. Meanwhile, the smaller head of the golf, its proposed troops outside from the city on exterior side, the feed will be drawn as geometric shapes. The one place frontally to the view to the viewer can be easily understood if we draw it like any socialists trapezoid in the case of the feet, play sideways. This one will be easily understood if we draw it like a skull entry angle remembered in your side of the feet is more concave In shape. On exterior side will be meat, more convicts forehead, wool dress fear which we represent. The cranium on the face. This fear will place on top of their lips, Withdrew for the neck under the sphere will draw a square. This square will be the job off our dummy. Once we have the head, place will connect connected to the body, drawing the neck Wool Drori cental curve across sphere. The skirt will cross the middle of this fear and will define where the eyebrows will be placed. Following the same line, we will draw the ears on the side of a sphere. Then we will divide a whole head with another vertical line. Remember, our head is in a 3/4 view, so both bars will have different sizes, as we did with the torso. Okay, so we are done throwing our dummy. Please continue watching the tutorial in the next bars. I will show you how to gather references for creating your own mood board and all this knowledge that I just give you. Hear how to draw your damage. Rule applied on growing our characters please practice or over and over again how to draw a simple dummy. This will help you a lot. And in getting your proportions right, anatomy is very important. But before drawing muscles, we need to understand proportions. So with that being said, see you in the next lesson. Bye bye. 3. Lesson 2 Warrior tutorial moodboard references: Okay, so we are here for the show, but we're going to start to collect our images for our mood board. And then you hear your just see me with photos of open just opened file. You consider from the sizes up to you, you decide and even the color of the background. So after you, Gray. Why, Whatever. And I'm we're going to move toe interesting. Here, you can see my own Pinterest page. It's call improve your drones that improve your drawing. Sorry. You can find it in Pinterest and I have different boards. They're they're quite interesting. Like, for example, this one here, the Knights reference and, well, our character, like I told you in the in the intra video, it's, um So our card is will be set up in some sort off medieval but non medieval scenario. What I mean by that I already explained it to explain to you, but a repeated again, the cartels, the garters, were going to throw in the sign they will worsen medieval stuff because but at the same time, they will wear some some stuff, some clothing or armor pieces or even weapons. Maybe I don't know. We're way we'll see they are going toe be wearing all the stuff from from from now or even the even the future. So the whole idea is they are like in some sort of regressive culture that in the past probably was, is our future, and their past is our presence. So if they have, like, left over soft technology, maybe from our time or even 11 in the future, like a sci fi stuff, but mainly their progressive culture. So there, using like Swartz and there they went back toe, use armors and and maybe even come father weapons and stuff like that. So when collecting the references, uh, I want to create a nice blend off different different images that inspire me. So you saw me like checking references for their for more the night stuff, and also, I have in mind other character that were there. They are going to be less 90 if you can call it that, that you can call it that. Those Carter's will be a little more like a tough guys. Oh, are barbaric. If you can say so, they will look more like bandits or oh our or even thief's eso the reference here I am trying to gather If they were different, they are more like, uh, Matt Max, Stop of style. Other reference, like for some of these mass from Hellboy Them them using here also so different references the many things you have to find your own references and you got ah, decide which one's feet best what you have in mind. What I mean by that is you have to be a little eclectic. You have to find images that maybe are notice. Conventional if you think about a night, yes, the images that we found our way more conventional or more like night type. Meanwhile, if you see me, you see me now what I'm doing, I'm I went to another board and 1/2 is called tribal and primitive. And I hear I'm finding references about native people from different parts of the world because I won't include those Salomon's I want. I want to create a nice blend of different influences and references, and I want to mix everything. I see why what comes out. And while you already saw in the beginning, I already show you the final results. But a while I'm sure you're going to be and they show you in the beginning, it's ah is the result of this research. And again, let me let me put emphasis in this. You gotta be a collecting. You have to be open minded not only even in the in their references there, here, you see in terms off off cultural references or even the sign clothing, the sign stuff, I will save them, go beyond that and try to find shapes that are interesting here. I'm looking to some references that I have another and another board, and here I am not us interested in clothing and stuff like that. I'm worse that I m interested in shapes. So you will see me here collecting or picking one off one reference, which is like a hair dryer. But I really like to the sign, and I thought that type off the signs were very cool. Me for an armor plate, that it's a limits. I if I or something like that and I want toe have this as a reminder that that I want to push a little bit a little bit. The Saif I think into the Carter and try to create the most fresh and new vision off night warrior abandoned. Like I said, we're going to design different types off off Carter's so it will be cool toe at different elements and different rose to each one. We're going back to the photo shop just like that. Pays your your references in tow into your canvas and just like, place them correctly facing us how you feel. They feel better. I doesn't need toe everything match perfectly like the you need to make all that much of the same size just made just base in there and tried toe enter to have us much reference you can, um, another thing that I want to comment. It's the you you are. You are noting other other artist images when I mean my dad is there, that I like to use photography's and riel life stuff or or like a set photos off stuff or people there from real life and the recent why I'm I'm very, very strong in this is if you are watching other artists drawings, that that's a very cool thing. I'm not saying that you have to watch other artists, and you can even check other artists work, if you wanna, let's say, reproduce some effect, for example, or some sort off line gained, the alerts have. Maybe he grows with a type of brush that you like. You wanna know how he doesn't and you're starting his style? That's that's another thing when, when throwing the references that you I like to use our real life references mainly because my status realistic and most importantly, I don't wanna be. I don't wanna be recycling while other artists did, and also want to be contaminated by he Bye bye. He's by his creation. I love other artists, work and works, and I think they're fantastic. And I take inspiration from the back when growing. I like toe. I like to use real right real life references and have them there and be able to check them . It doesn't mean again that I'm no no also looking toe artist toe. Other artists work, and I'm taking inspiration on their work. I have. I can mention many like market juju week, for example, on Jones. Uh, Peter More bachelor thing is the name of the the artist Cal Kupinski, which is I. I think he's great and I'm constantly watching their stuff. But when I'm drawing when I'm drawing, I prefer toe. If using references, I prefer to use real life references. So I I'm not getting contaminated by their style. I'm doing my own thing, and I think it's I think you should do also, especially if you are trying to find your own style, your own voice. It's important that you you take this person from those artists, but at the same time you are. You are working on your own staff euro developing your own stuff so more or less you can see here that I created the mood board. You can create not only one Grady them in two or three mood boards. I will not go. I mean, I would recommend to go over the top with 34 mood boards. Just a couple of them there are quite OK. Keep them in the in the another in the other screen. If you have to squeeze, it will be perfect. So you got throwing ones you see on screen and the other screen just for support, half on doing the creating your boob or see you in the next lesson. Bye bye 4. Lesson 3 Warrior tutorial 1: we will begin our sketch by creating a dummy, on top of which we will draw her character later on. The reason we draw Dummy first is to have a clear vision on our Carter's anatomy. In this initial stage, we will use the dummy to decide the post of our character and making no so sure that we're driven not to me correctly. If you haven't seen the lesson on how to build a dummy, I recommend you tow watch first. In this lesson, I explained the basic notions on how to drug czar me from the 3/4 view, as well as the correct proportions of the different body parts measuring them in heads. Regarding the lesson you're watching. Now we're going to use what we learn, the damning lesson, and we're going to take it one step further, the finding a little bit more our dummies muscles. The goal is to give our drawing a moralistic and detailed volumes. We will start drawing the guard to store So the recent was started with the torso is because the perspective from which we throw the torso establishes general position of the body. The torso is represented in a 3/4 view. Here you can see me, the rolling the torso facing to the left, with the riotous Imo's Dorsey or right lat muscle, connecting the shoulder with the hip and being fully visible. Meanwhile, the left lateral muscle will be completely hidden. The next step will be to Roosevelt toys. The shoulder on the right, which is more visible, will be thrown Romney on top and with a pointed shape on the bottom, which is where Delta insertion with the biceps occurs. I will not draw this insertion fully, and I will leave it open. It is no good to the final, the muscles completely, since we are not drawing a skin model. And this will also given artificial aspecto our Carter from the left shoulder. We can only see the upper part of the deltoid, since insertion with the biceps is heating behind the left pectoral. We will throw the hips and the pelvis as underwear or a see if the dummy was wearing some sort of a Speedo instead of throwing them in detail on, then covered this part completely. When we throw the clothing on top, it's faster to draw it this way, so we only suggest the problems there are beneath. Once a tourist on the hips are drone on, the perspective of the bodies established drone limbs on the head will be much easier. As you saw in the lesson how to build a dummy, the limbs should be drawn, a stoops. In this case, we will go a little bit further and they're finding muscles a little bit more for the upper arm. We will define the curve for the biceps and the short gore for the triceps. We will do the same on the legs. Move will mark the quadriceps curve on the outer side of the leg and in the inside part of the leg we will draw the inside. Corfe, that is the biceps. Memories regarding the head just will draw it with another shape that were part of the Sobo which corresponds to the Carters. Joe, she'll be drawn squarely. You gotta know where you're going to draw the chin since this will find which side the head is facing. In this case, we will tell the chin facing the right side of the viewer Doing this The sites of the Joe will appear uneven while one side being longer than the other. As you will see later, I will try different orientations off face to see which one best fits the Carter. So don't worry too much. If you struggle a bit trying to find the right position and the right angle, throwing the forums will be quite simple. The most important thing is to know where the biceps should end on. The elbow must be placed. You should draw the elbow at the height of the last floating rip through the forum like a tube that connects the elbow on the wrist. This tube will figure in the area connecting with the elbow and will become narrower when connected to the wrist. We will draw the wrist somewhat a both where the genital area should be. The arm on the left will appear partially hidden by the torso. As a consequence on Lee, a portion off the BIS it's on the forum will be peaceable device. It's insertion with the forearm will appear more or less at the same height than in the right arm. One of the bandages of Throwing Digital is that I don't need to worry about the size of my drawing with respect to the size of the campus. I can. We scale the drawing as it suits me. In this case, I reduce the size of the character with a transform tool which the shortcut is control team Windows Command T. And if you're working on Mack before continuing, drawing the hands and finishing the legs, I want to define the final orientation off my character space. For this, I will draw across from the face. This will help me to know where to place different facial features. There is entire arm off. This gross will help me. The signing. How high should draw the eyes on the Veldt occur. The vertical arm will help me establish word to put the nose and the mouth. There are some arms should be located more or less in the center of the face on the vertical should connect the top of the head with the center of the chin. As you see, I have decided that the face points slightly downward onto the left side of the viewer. As a consequence, there is on the line appears curved, slightly downwards on the vertical line. Curves is slightly to the left and following the general shape of the cranium. Next, we will draw the right hand, since we will drop our guard or holding a weapon, hand will appear closed with a fingers clans and barely visible in our lesson in how to draw a dummy. You can see how drawing simple squares and rectangles you are able to the find the volumes off a clenched fist or a hand grabbing something. A closed hand should be. Drone a little bit above the middle part of the thigh. Once the right hands finished, I will continue on the same side of the body, drawing the need calls on the TV off the leg. Well, don't any a stupor. Indices. One of the parentheses are just connects the quadriceps with the outer side of the calls on the other attendant that this sense from the biceps memories with inner, called to draw the carves gradually wide in the leg and narrow it again as you reach the ankle. No, that internal cough appears more bulky with respect to the bulge on external cough. Also noticed that the bolts off the inner cough appears below with respect off the bulge on the other one on the other side. Sorry, actually, when drawing the sheen area from the front view the bolt you can see on the outer side or response to a muscle called a long Ternium. We will continue drawing the knee and the car from the left. Two factors to be considered first, the left leg will be drawn with the knee born things towards the left. This automatically makes entire leg face the left side. Second, due to the perspective, we will draw the left knee slightly about the right knee. The same will happen with a cough, and, as you will see later with the food as well as a result of throwing the knee a little bit up off the other one, the left side will be slightly shorter compared to the right one. When drawing the right food, trying not to draw it. Looking completely to the left, draw it pointing a little bit more in wards. This will prevent your foot to look a little bit flat and lacking volume to create a sense of realism. It is better to avoid drawing body parts and 90 degree angles or aligning them, making perfect vertical horizontal lines. The food on the right will be quite simple to draw. Think off on the Socialist Triangle with Rahman and angles. We don't need to define more than anatomy of the food. Just with a simple shape will be enough because our character will be wearing footwork. - The left hand will be the last element of our dummy Toby define. Due to the angle of the forearm on the wrist, only the thump on the index finger will be really peaceable. The heart on the rim fingers will appear partially visible behind the index finger, with a pinky non visible at all. We will also draw on almost close fist because our card that will be holding a shield on that hand. As a final step, we will make our Carter look a little more corpulent. For that, I would use to transform tool again, control T on windows or command T in Mac toe, widen the hole, drawing a bit, making the whole anatomy for Carter a little bit sicker. The next video, we will start dressing our character. See you there. I buy 5. Lesson 4 Warrior tutorial 2: in this lesson, we will dress it down. Me were created in the previous lesson. We will start by drawing the main volumes of our Carter's clothes and armor. The first thing we will do is lower capacity of the layer where we have our dummy to a 60% or so. Then we will create a new photo shop layer on top off the dummy layer. It's in this layer we just created where we will draw. The clothes are more in character details. The first thing I will draw is the animal skin off a cape that the character will wear over his shoulders. I will use a reference the images off Gabes and animal skins that I had in my mood board. The best way to draw the animal for will be to create a succession off curves off different sizes. Try to arrange the for toughs in succession on descending following the fall of the shoulders. Also in a random way, you should draw two or three isil, the toughs pointing in other directions. Enough following the others. You will achieve a more natural look doing this. We will continue growing the chest abdominal plates of our card is far more. I would like to drill the arm or with a somewhat futuristic style. I know that it's not a usual thing, but I would like to give the warrior different. Biba safety armor were a relic off a technologically superior civilization, which will have long since disappeared at the waist. We will draw a sash. Notice how inside this this sash, I will draw different lines that represent false in the fabric. This lines come from the sides where the tension points are. That is where the fabric stretches and creates this bowls. Once we have the sash drone, we will focus on the arms. We will start growing the gloves and cover almost entire forum with the sleeves. We will leave our hands as we threw them in the previous lesson. We'll continue drawing the sleeves of the gambles on our character is wearing under the arm . Or, if you're wondering what it's a gamble sin, it is basically a kilted letter jacket. Knights of the late Middle Ages usedto where these Amazon under the armor as extra protection as you can see both the arm or the globes on the Gamma since leaves are Drona schematically. For now, I will focus only on drawing the main volumes on designing if they convince me or not. Later, I will come back and draw them in more detail. My next step will be to draw the main volumes of the head, a summation. I would like to give the character that somewhat boss apocalyptic look, mixing primitive elements like skins words, shields with more mother or even futuristic technology. Therefore, the helmet off our character will resemble a medieval or 76th century helmet to which we will add some glasses with adjustable strap. Those glasses will be more in the style of the aviators off the Second World War, and the garter will be wearing them. Raced over the eyes. - The helmet would protect our warriors head as well as the cheeks and the job living on open space where the eyes, the nose, the mouth on the chin will be visible. Although the chin will be partially hidden by the strap that diets the helmets cheek plates , we will use the cross that runs through the center of the face. It's a guy to draw the different facial features on the Ori cental arm. We will draw the eyes. The eyebrows will be run over his arm and the almond shaped eyes were withdrawn on top off the line in the vertical arm, we will draw the nostrils of the nose. We will place them halfway between the crossing off the arms or the arms crossing on the chin. When drawing the mouth will place a shoreline that represents the lower lip halfway between the nostrils, which is true, and the chin, the bottom off the chin. The line of the mouth would be slightly a both that off the lower lip, the corners of the Libs will be drawn in line with the center of the eyes. Now will dedicate this spar to refine and detail. But more I will do some retouching is and try toe make the face, and also the protections on the chick plates look better after redrawing some part of the animal for to make it more irregular and also more organic looking. I will finish the finding the part of the gum base on that covers thighs. I will make the gambit some closure to be cross one side about the other. Both sides of the gum Besen will be drawn more loose and open from the sash downwards. This is because the fabric under the arm or and under the sash is more stichting and compress. But on the legs and the arms. Nothing is compressing it so it can expand to its natural shape. Once the cumbersome main volumes are thrown, I will focus on the Carter pants. I will the rather in reaching the top of the knees, where I will grow several folds blind that the rest of the fans, the knee and the sheen areas will be held by the boots and protections I'm going through, though this Putin protections later on. In fact, the falls you can see on the knee area will indicate that the fabric in that part is resting on top of the knee protections. I was your later on. As you can see, I will make the first sketches of what will be the shield. I will make a couple more for them some the next lesson until I find the shape that I like the most finish. I would throw the Carters hair strands. I was gets a few curves and elongated lines. The main difference between drawing an animal for and long among hair is that for the for, we will draw short toughs, with some of them even pointing up defining gravity. Meanwhile, when drawing long hair, you should droid in longer strands and following more or less the same direction. In the next lesson, we'll add some detail toe regardless, clothes an arm or I will see you in the next lesson five. 6. Lesson 5 Warrior tutorial 3: in this lesson, we will finish throwing the main volumes off. Our characters outfit also will draw all kinds off accessories on. We'll start adding detail to the clothes and weapons. We will start focusing on the waste where the sashes there will draw holster hanging from the sash as well as a belt and a military family back hanging on it on the side. A summation before the clothing is a mixture of different epochs. Thus, while the belt on the fanny pack are accessories that might be will be worn by military men off our time, the holster, and especially the pistol off which only the gun on the handle can be seen, are more typical of the 17 on 18th century. Finally, this lesson, we will finish the shield that we were already sketching in the previous lesson. In the end, I opted for a medium sized round shield called Rubella by the Spanish. Their fears of the 16th century remember to draw the shield grips as two stripes, one held by the hand on the other one around the forearm. The next step will be to draw the cape. It is important to keep in mind that we must give to the Cape a certain movement for these , the bottom it's of the cape will be your regular on with faults. These faults will help to come fear a feeling off movement on Linus. The secret is to draw wide and narrow arches one after the other, nor will be necessary to throw many. Just four or five different sizes will be enough. Also, I added some cuts on the edges of the Cape, so it will locally with Warren and realistic. Another detail that we cannot forget to draw is the closure of the Cape, which joins it to ends of the animal skins that the Carters worrying over the shoulders. My leather strap that is placed across the chest plate. Now we will drop protections on reinforcements on the elbow. Sunday gloves. This protections will be letter bands that will serve us US ring force patches because of the fact around drawing the reinforcements of the gloves on. These are at the same height as a pistol. I will draw some details on the holster and the gun handle on the holster. I will dress trap. The strap is a continuation off the one that hangs from the sash and holds the holster on the gun. After growing the pistol, we will finally focus on drawing the details of the legs. He took me a while to the side of what protections I wanted to draw on my legs. I will start by drawing the protections off the left leg. I will come back later. He drove those on the right. When I'm designing, sometimes I just drew one part and leave the other for later. This allows me to focus my attention on other parts of the character, and with that I let the subconscious part of my mind work. Thus, when I come back later to finish the missing part, I can detect faster if something is failing in terms of the sign, position or even perspective, the sign that I have chosen for the protections off the legs will be that of four pieces divided into Kneepads, two plates for the tibia or shin area on another independent play for the instep. This division will allow greater mobility to the Carter keeping need TV and a step separated from each other on avoiding a stiffness, and the movement were walking the style of the protections will be similar to the ones the Koran anti riot cops, where later you will see that when I'm detailing different bars of the character, I will use the same process of jumping from one part to the other. Another advantage of this process is that it allows me to avoid over rendering parts of the character than do not need too much work since they like real relevance. Let's see an example. The level of detail that we must devote to the face and head will always be considerably higher than the one we will devote to the legs. Head will be always the main point of attention, and the legs will be a secondary or even third point of agent in scale of importance. While I leave some time to decide if the sign of the leg protections convinced me or not, I will focus my attention on the gambits. Um, in its letter surface, I will draw diamond pattern that will simulate the reinforce batting that these jackets are made off. Another element that I will begin toe our line will be the hills on the cross of this ward in the next lesson, I will draw the sword blade. I will also spend some time reworking a bit more that shield to give it a shape and position that will seems more realistic to me. Well, it's more believable now. It is time to go back and finish the protections of the right leg. The truth is, I really like to the sign of the legs, so I will keep the sign. I'm repeated on the right leg. Keep in mind that the right leg is seen frontally, so you will have to adjust. The sign we're using for the left leg, which is in a 3/4 position on drew the protections front only. And then I conversely, manner. You must have the other protections to the position of the muscles off the leg, trying to follow the lines withdrew in our dummy so the armor plates will adapt and follow their not to me of the character. This will result in a more realistic and natural look in the next lesson will finish it daily in the Carter on. We'll clean the lines of the drawing. See you in the next lesson. Bye bye. 7. Lesson 6 Warrior tutorial 4: in this lesson will finish this version of the character. To do this, we will drove various details of the armor, the weapons and the helmet. In addition, who will clean the line for sketch to give a more polished look toward drawing will begin the lesson by drawing some details on the legs. These details will help give a moralistic looked or character. Details like the source of the boots are easy to draw a couple of lines, and you have already given volume to defeat to the protections in the legs. We will add screws or nails in the corners that will indicate that they're made of some type of metal, hard and material It is important to draw. The false of the pants is sticking out of the size or the back of the protections. You should do all these falls on top or under the straps that hold the protections to the legs, implying that a fabric falls and stretches due to the pressure exerted by the straps. We will also review the falls on the knee path. We had already drone in the previous lesson to give more weight to the line and better marking the falls. A detail that will quickly help to give your drawing a cleaner look will be to reduce capacity of the dam in layer that we do at the beginning. Off our drawing, you can reduce capacity of the dam you later to a 20% or so. Later on, we will end up making a total invisible. But for now, what we're gonna keep it like as a guide, but only 20% because you don't want the this drawing to interfere too much with your work. So remember to keep it barely visible. We'll draw on top of some lines to give them more weight. Such a in the hands inside and the inside part of their right are on the hair. This is where we must apply correctly the line way technique that we saw in the lesson regarding drawing techniques. If you're afraid of messing up your sketch, you can draw the line thickness in a new layer on top so you don't have to lose your original growing. Also, we will eliminate some lines. There are no longer necessary, and they're only coasting noise. The some of the lines are there once under the hold the pistol holster their wants from the government's um, and they already know necessary because this part will be hidden by the pistol holster, So you got to remove them. We will continue with the line way technique by reviewing some areas, like the lower lines off the armor, like under the belled, the funny back, also under the chest, played. Once we have most of the bones off our Carter drawn with the only exception of this war, we can totally eliminate the lines of our dummy. You can make the layer invisible by clicking the II gun next to the image of the layer. I'm quite happy how we through the face in the previous lesson, however, I'm a word that the helmet and the glasses needs some work You can just to detail your Carter as you want, but for me, it is not necessary to draw too much detail or decorations. Sometimes a couple off lines that's just the shape is more than enough. Notice how I do not assume towards the head to draw the details of the helmet. Unlike what I did on the face, where assuming so I can draw the facial features better in more detail for the birth of the helmet. I prefer to keep a view for her away. This is because I don't want the same level of detail or precision in the helmet us in the face. This choice is totally deliberate, and it's based on. Following are higher key off importance. The level of detail in the face should be higher than in the helmet and in the rest of the torso. For that matter. His hierarchy goes from top to bottom from head to toe and go see in order of importance. Naturally, the head on the shoulders are the areas where the viewer, before the viewer's view, will focus first, and in first instance, the viewer will always seek the eye contact with the character. As human beings, we're programmed to look for the eye contact and thus be able to find out emotions and intentions off another person. This type of faction is most of the times performing an unconscious way, - a detail that is quite simple but that will greatly help to give them a meal. Plate. Three dimensionality is to draw two vertical lines that divided piece into three planes. This so simple lines. Those two lines magically will give volume and deaf to this piece and to the abdomen. Eri In general, another example of detail of great importance are the strap stuff fixed the plates to the body and especially the strap that tides the pectoral played with abdominal one given cohesion to the whole armor and making it one. Now the time has come To draw the garter sword, I will begin drawing some dirty lines to determine the total with and left off the sword. Once I have the area of a sword blade, fine. I will proceed to clean the area, erasing any line hidden behind it. To drop the ages of the blade will create to the Yemen alliance that will start from the handle on will end up near the tip of the blade. For this, we will proceed to Mark with a dark the beginning off this side of the blade next to the guard off this ward and then will breast shift and we're without releasing blue mark Another dog where we want the cutting edge to end automatically for a sharp will create a decreasing line between the two points or the two dots. If you see that the line looks somewhat faint near the tip of this ward, you can repeat the process making the same point. So the same dots once again, once you have created one of the edges, you can repeat the same process created the other side of the blade. After having the twitches ready, you just have to draw the tip of this ward. You can do it drawing a pointed arch shape. In this case, once this world blade was created, I've just realized that it was too wide and heavy and didn't fit the Carter fix this. I simply have to use the geometric last to select the edges and move them slightly to make the blade narrower. You can move the selected edges, either man, really, with your digital pen or using the arrow keys of your keyboard. It's up to you. Once the volumes of this war are, well, the fine. I will go on and detail the weapon cleaning areas of this war like the arms off the guard, as well as the hailed on the knob to draw the central line of the blade that invites both ages off the sore. We would use the same technique that we use previously. 40 edges market dot in the center of the blade next to the guard per shift, and we felt releasing mark another dot near the tip of the sword. As a final detail, you can throw two lines that will connect the sites of the tape with the center line that divides the edges. This will help to create the feeling that the blade of this ward is divided into three planes. It wedges on the tip. We're almost done drawing the sketch for Carter. Now I only have to review some lines to give them more weight and clean others that may create unnecessary noise. It's a matter of how polished and clean you want. Your Leinart don't meets the next lesson where I will teach you how to create a variation off this same growing so that you have an extra carted version to choose from. See you in the next lesson. Bye bye 8. Lesson 7 Warrior tutorial 5: in this lesson. We move forward and modified a guard there we created in the four previous lessons. To do this, we will redraw some parts of the sketch, such as they had or the shoulders. Also, we'll explore other the sign options that we didn't contemplate in the original version of throwing. The first thing will be to replicated for the shop player off our origin sketch so we can preserve the original design. We'll start working on the duplicate layer, which we will proceed to mollify. We will begin the modifications by the head. We will raise entire helmet and cheek protection plates. Living on Lee. The facial features eyes, eyebrows, nose and mouth. Once we have the helmet completely erased, we will go back to the DeMya later withdrew at the very beginning on we will activate it, making the dummy visible again. Keep the emulator between 20 and 40% of busty. More or less, the emulator will service the guy when redrawing the head. I plan for this version of the character is to droid with head exposed. I would use the damage owe us a reference, and I will draw the lines of the job on top of those of the dummy. I will also raise the pupils from the ice, and for now I will leave them black. Later, I will draw them again in another position so I could give the gardener a more expressive look in the eyes. I will continue working on the job on the chin as well as the hair. Big key here is to make the lines of a Joe darker because they do not receive the direct impact of the main light source, which I decided it will be a both the character. You can do the same for those hairlines that are not really exposed to the light. Sirs. As I said, I will do the Carters main tightening up on intel on top, loose on the shoulders. When drawing the hair on top of the head, we will droid. Do you see the dummy skull lines? Because the hair will be flat to better represent this flatness. Draw civil are kerf lines that run across the skull from the front to the back of the hit on his head, on the size of the head near the temples. Throw short part of lines these will serve to show how the Harry source of flat on the sides, once the main volumes of the hairstyle already well, Dr Pupils of the eyes, we'll draw them as two semi circles. We will position them in the right corner of each eye. The character will appear looking to the side, as if something was there catching his attention. This is more detail makes if you were asked to himself what is the card they're looking at ? This can spark in the viewer's mind all sorts of little narratives and backgrounds for our character, given came personality, suggesting that something or some event out of side is affecting. Whether you were can see will immediately sparked all sorts off questions. Interviewers mind. This is a powerful tool you can use to give life to your the science and making them more believable. Now that we have the head thrown, who will spend some time review some lines of the drawing, I will darken the pupils of the of the ice a little bit as well as the upper eyelids to make their look more penetrating. I will also, through a few power lines on the neck and the under the chin. This lines will serve to shade. This area bid is well, doctor the neck and will make the face of stand out more. The transformation we have done in the head removing the helmet has changed the silhouette of the cart in the upper part of the body. Even so, this change is not enough. We must alter the Gardasil with even more. By doing this will make this new person different more clearly from the previous one. My next step will be to reshape the shoulder area. We will raise the animal for the garden, carries on the shoulders on. We replace it with the shoulder pats of an armor, and also that fabric gave the Carters carrying. We'll start by drawing that gave the rest on the shoulders will keep the strap that used to tighten the both sides of the animal. For this, travel died possible the size of the new cape we are drawing now, but each side of the strap will have an elliptical Bruce double fix it gave to each side of the strap. Later will grow several folds that will start from each boots and will extend toward the shoulders Once we have around the main body of the Cape, we'll throw the arm or shoulder pats. The apparatus of the shoulder pads will be here and under the fabric of the cave. The rest of the shoulder pats will appear coming under the gate, and we'll have a spherical shape like that off a bowl. Placed upside down, the bottom part of a bad will have a flat edge that will have to further protect our Carter's farm. Now that the main volumes of the cave and the shoulder parts are ready, it is stand to roast some details on reported three dimensionality. The first thing will be to draw the falls of the gate. We had already spoken about gruesome covering lines, starting from the Bruce on drawing them, opening towards the stop of the shoulders. Two or three last Perseid will be enough at the top of the shoulders where the Trappist with muscles are located. They gave must be drone using irregular lines. This is you to the folds that come from the brushes and extend towards the shoulders. Now, second moment to make the emulator that we activated at the beginning of the lesson, invisible again we no longer needed and it only will cost noise and will make up a line out loose look less clean and sharp. We will finish it telling the shoulder pads and the Bruces off the gate in the shoulder. Possible that find better. Th is also in addition, will check and clean some lines of the face and the hair. - Now we will focus on the leg area. I would like to give more volume to the cows and thus give the impression of the protections are bulkier and heavier. To do this, we will go back to the polygonal lasso tool. We will select the protections of the meat tibia and instead of the left leg and move them towards the left a little bit. This will automatically create a feeling that the leg is thicker will perform the same action for the right leg, obtaining a similar results in the other leg. Once we have relocated, the protections of both legs will proceed to complete the missing lines and opening squid created as a consequence, we will complete the lines of the fasting straps of the protections. We will also redrow some parts of the protections to refine the lines and better at at the protections to the new location. Finally, we will end by reviewing some details. Others will work the shoulder pass a little bit more, will review the lower part of the game, and we will complete the part of the hip hop the cumbersome that we forgot to finish in the regional version of the character. Hope you have fun drumming discarded on expiry ation. Don't miss the next lesson by 9. Lesson 8 Second warrior part 1: In this part of the curse, we will focus on creating a new version of the warrior that will be totally different from the one we created in the previous model. This new warrior will have a totally different posts and clothing. As with the previous version of the warrior, we will begin by drawing a dummy double services the basis on which we will then throw our character. This new dummy will be drawn frontally. But to avoid being too flat, we will throw a several parts of the body in different positions. This will make the Carter look more three dimensional. We will start with the tour. So to establish the general position of the whole body, we will place a rib cage on the abdomen or ended slightly to the left of the viewer. This will make the right side of the door. So with their ribs under lettuce in the stores, see muscle off the back, somewhat visible on the left side. We will not be able to see the lattice Ingles. Dorsey, on the edges of the rear gate, will be seen looming below the victor on muscle. We will suggest the hips and pelvis drawing them like underwear or like a like a Speedo. Follow the orientation of the torso until the pelvis, slightly to the left. This will make both arches connecting the legs with the underwear different from each other . Due to the respective, the art on the right will be more pronounced on the one on the left. Once we have the torso on the pelvis complete, we will proceed to divided torso by drawing a vertical curved line. This line will divide it or so into two, and even helps they want on the ride. Being somewhat larger, done the one on the left. The next step will be to drilling deltoids, and they find a picture on muscles on the left shoulder. We will draw it completely visible compared to dummy of the previous warrior. The victor on muscle will have to hide off one head, starting from the base of the neck until the end of the sternum. The delta it on the ride will be drunk, rounded on top on with a pointed shape on the bottom, which is where the deltoid connects with the biceps. We will continue drawing the limbs, legs and arms. We will draw the left side first with the quadriceps pointing to the left. This is important because where we position the quadriceps will dictate where the near food will be. Pointing later on. The left arm will be drawn attached to the body with the biceps visible on the profile of the forearm protruding. Notice how when drawing the arm in this position, the deltoid and forearm stand out while the biceps appears oriented in wards. On the contrary, the right arm will be drawn separated from the side of the body and we will draw it later on holding a spear or sword. We'll see it later. We will do the right side with the quarter six facing right slightly. Remember that the knee and the food should be drone facing the same orientation later while the left les will be drawn along a vertical line. The right side on the die right leg will create other. You're gonna line the weight of the body will rest on the left leg. I think like a supporting Call him off the body. This is why we draw it vertically. The right leg will help us stabilize the body, but it will not support most of the way. So we'll droit creating other you're gonna line on the left leg will draw the knee and calf will join me A Super Indices. One of the parentheses connects the quadriceps with the other side of the gulf on the other . That end in that sense from the biceps memory with inner side of the cough muscle to draw the cough really wide in the leg and married again As you reach the ankle. The forearm on the right side will be drawn towards the viewer, so it will be shorter and rounded compared to the left forearm that is more elongated. The right hand will appear running something, so we will droid Asare clench fist pool drawn your regular square with a thump appearing on the upper corner off the left. When drawing the knee, the TV of the calf on the food off the right leg will follow a procedure almost equal to the one of the left leg. We'll continue drawing the left foot. We will drive a line with me and we will be able to see the inside of the food on the hell because our character we were shoes will not draw the toes. Just a square point of a boot. We will align me TV and food us in the left leg. The car will be drawn us. A bomb on the inner side of the tea via while on the outer side just below the knee will draw the long Ternium. When you draw the head, you should do it as if it wasn't noble. The lower part of the overall, which will correspond with the job, should be drawn squarely. Be careful where you position the chin since this will define which side the head is facing . In this case, we will draw the chin position in the centre, making both sides of the team equal. The whole sphere of the head will be drawn somewhat tilted to the left. We will do so to get the figure. More dynamism. Breaking the vertical alignment of the body a bit will prevent a figure from looking rigid , and we will give it a more relaxing natural look in the center of a sphere. We will draw the cross that will help us to define where we will draw the different facial features of the face next will focus on drawing their left hand. I will make a couple of attempts to see what's hand position are like best. Finally, I took the decision to draw the hand wielding. They handle off what in later lessons will become a knife. I will do the fist with the thumb facing left so the fingers are on. The handle will be peaceable. The fingers will be arranged a succession one behind the other with the thumb full exposed and partially covering the index finger. - Finally , I will correct the left biceps area Right now the bus is no position correctly. With respects to the forum on hand in this position, the lower ahead of the tracks. It should be possible. Therefore will reposition the biceps further into the arm and closer to the ribs Do not means the next lesson. Where will begin to the till? The dummy would just creator on the start giving shape to our second person of the warrior . See you in the next lesson. Bye bye. 10. Lesson 9 Second warrior part 2: Okay, so after we have forward dummy done, it's time to start to dress him up. So the first thing I will do, I will starve. I drove by drawing, uh, some sort of a hoodie on our character. I was Rahsaan clothing, some fabric on top of his shoulder with a hood, and I won't. I give him more like instead of a night look like we did for for our previous version of the character. I want to give him more like the look off rogue or abandoned or something like that. And you will see me trying things here. Like I said, I would stop by growing these clothing over over the shoulders, but at the end, I will no use it. I will remove the hood at the clothing on top of the shoulders because right now I'm try. I'm looking at the references that we gather for our mood board and I'm trying toe see, something works, but I will leave. Is this sort off build for leathers? Leather strap. But I'm drawing across the chest and for now, I don't know what I'm gonna I'm going attached to it. Maybe it will be a back on the side. Maybe I won't. I will add some some little pockets, little backs along the leather straps across the chest. I don't know. We'll try things and see if it works or not. Part of the sign off the signing of character. It's toe. Try things and see if it works or or it doesn't. And now what I'm doing, it's Ah, starting to draw what it will be. The the breast. Later, the card is wearing my idea for the breastplate. Watching the references is to make something like rest playmate off leather and with some metal insertions of metal plates, a little metal plate attached to it. So this type of sign, it's more like Viking type off are more if you watch the Viking serious or if you are familiar with early medieval armor, they were more or less made off hard leather with some metal plates of metal. Piece is attached to the letter to extra protection so that this is the main idea for this typo off our or breast play that I want to that I want to throw in our character. The thing here is like like I said, I don't want a night. I want more like a rope. So I don't want to put much heavy armor on our character. I don't want to use like like late medieval type of farmer like the Gothic are more or like other full a full metal armor that the knights from the 15th century, 14th century there were worried I will go more for light type of farmer. So when you drawing those, uh, those little late It will be a little bit, you know, annoying because you have to detail you got one by one. I mean, here I'm doing I'm drawing in one by one. But if you want, you can just drove 11 vertical line like three or four of them and just copy paste in different layers. If if you want to go faster and then use the transform tool, toe toe, adapt a little bed following the shape of the body. But it's up to you. Here. I I didn't like one by one, because I I want everybody to see that you could do it by one by one. If you if you want to, it's the more straightforward and if you wanna put more technical just on. Go faster. Just do what I what? I said. Just select one vertical line off three or four opium paste. You will have a level traveled for with with the plates on the on the lattice Imo's Dorsey on the Latin myself because those one time and perspective more 3/4 perspective. But you just like narrowing narrowed them a little bit. Just rolled drawing. So now, in final finishing details here, I'm also drawing a leather belt across the hip. I'm not drawing at perfectly attached attached to the hip. I'm going a little loose, hanging out a little bit to the right side. This is because probably I'm gonna put some back there or something like that, which is not ah, built. That it's citing the pants is more like a bill that is, that is carrying some back with it. So this is the main idea here. Also, another cool details to a little Napster to the metal plates, the off the armor it gives ah, more three dimensional look. It's a nice detail also has a purpose and re alive. If you have those little knobs, they help to the flag blows from from weapons, believe it or not. And if you have just a flat surface, you can. If you if you receive an impact, all the flat surface will absorb the will. Absorb the the impact from a sward or whatever weapon you're pointing. Scary. But if you if you creator or not sandals plaits, they will help to deflect the blow. Love it. So I'm mostly drawing some sort of shoulder paths under the the clothes clothing on the shoulders. But I e. For why I remember when I was throwing this because I'm recording the voice after the drawing. I didn't keep them. I just remove them when I was just trying things. See, something was working or not, And just like try, you know, it's, ah, sometimes a little bit of skirting because you see things. You already have some something grown and you said, like, uh, I don't know if it's worry if it's working, but it's part of the struggle of the artist if you want. If you want to call a live, call it like that. Next thing will be to clean up the lines that are under the belt across the chest I just want to remove the lines from the clothing and remaining lines from the armor plates. So the strap, the littlest rather goes across the chest looks cleaner, so it will help me to visualize better later on what I want to add there. I will continue by drawing the tests off the arm, or you will see me throwing the bottle match of the breastplate and also detailing the openings of the arm, the edges around this area. And I will do it by drawing some far little short lines. Double represents some not stands. Little straps that that this letter armor house in that area and there are there because they will reinforce the whole edge a little of the armor and make it harder, harder there after finishing working the borders of the arm. Or I will continue by throwing those little pockets or little backs that I told you about it being a beginning on the on the strap across the chest. I will start by drawing some rectangles they will represent roughly Would their pockets will be. But like you, like you see, or your life you will see in the second. I didn't like the first. The first thing is that grow. I thought it might really are beak. Maybe they're too much for the card there. So I decided to go a little no pockets and also draw some experience for reinforcement on the levels Leather strap, a little bailed growth chest, Um, making it thicker and wider on the on the top part of the chest and on his shoulders. So the whole bell has different sizes, and it looks more organic and realistic from the lower part of the belt across the chest. I will true Ah, bigger book it toe a bigger back so they will be hanging near the hit. And I decided also to have different sizes in pockets to a small and one big back. So also creates a little bit off or gifts on organic feeling to the growing. That's interesting that you do that because if you draw everything the same or everything, even, um, it will look a little artificial. Realize we don't have all the same size of pockets are all the same size. Oh, back you are carrying. So give this organic look and this fire I A teen sizes helps to give more credibility and realism to your growing. After that, we will continue by removing the fabric on top of the shoulders on the hoodie. Watching my references, I notice of the gladiator type of far more. This type of farmers life are more, and it's not a full body armor. It's more like it protects more one side of the body, but maybe the shoulder and the one are. If you're familiar with the protections and weapons off the gladiators from the Roman area , you will be. You will be familiar with different types of gladiators you could find in the middle of the Thrax some night, a lthough. Those three types of gladiators used to wear protections on one arm and the other arm was free. This is because the free arm was carrying some sort of shield will be a school tomb or square shield. And even if the if our Carter is not going to carry a shield, Ah, I like the idea of one side more predicting, done the outer. I think it's ah, cool the sign. So I'm going to use it for our character. I'm gonna throw a couple off shoulder pats on the left shoulder, and also the shoulder pads will have, like some sort off later protection near to the next. So the neck or that side of the neck will be protected from different blows. Attacks set her up. Also, another protection I'm going to add on the left arm will be a bracelet divided in three plates. These three plate will be attached to the forearm by some straps. You I will draw the straps on the inner face of the forearm, and this will complete protection for that side of the body. 11. Lesson 10 Second warrior part 3: Hi. Welcome back in this part of the lecture will follow where we left on the previous part by continued rowing the body armor off the character because we remove the hoodie and the piece of fabric covering the chest and shoulders. We must complete this part of the body by drawing the remaining part of the body armor that was supposedly under the fabric. This will be a fairly easy task. You just have to keep throwing. The metal plates attached to the letter are more. Try to draw them following the shape off the chest. - Also , you must finish the leather reinforcement covering the border on the opening off the arm on the ride, we will do the same for the opening around the neck. We will proceed similarly than we did for the opening around the right arm. We will create some leather stitching and will create some reinforcement around the opening . For me, a cool detail is, too to throw layers on on the Carter clothing. So the Carter wears different layers off clothes, arm or whatever, and very cool it is to do it in a small pieces and small pieces off off clothing like in this case, the belt across the chest. You can find their there. I threw like like a small belt for small strap on top of the Figure one, which is around the chest area. This gives two levels off two layers to the belt across the chest, and it makes the the whole design way more believable and also way cooler. Because the Garda looks that he's, you know, he's wearing also some reinforcements, even in the even, in the small details like like the belt. I decided to redraw the opening off the right arm because I felt that the previous opening waas too close to the deltoids. And I think even it's throwing and you can allow some artistic licence is I think it's cool if you think about if the armor, where could be useful and could be really believable. And for me, that opening was like I said too close to the deltoid. And I think if you try to fight wearing that type of farmer, maybe your arm and some movement could be the movement could be difficult, could be stopped by the by the armor, so I decided to move it a little bit towards the chairs. The opening so leaves more space for the arm to move. Like I said, the changes very. It's minimal, but also visually, I thought, makes the army look too. Two week and covering tomorrow, according to much of the shoulder, was the body armors finished. Who will continue drawing the plated bracelet on the remaining forearm You. To the perspective, interior side of the forum will be way more visible than exterior side of the forearm. We will draw the same bracelet. The sign we drew on the left side draw three consecutive leather straps around the forearm like we did on the other arm through the strap Cisco Siegel Defarges. Following the shape of the forearm, the edges of the three plates will be civil along the bottom part of the forearm. Try to imitate the same design. Withdraw for the blades on the other forearm. After the bracelet is completed, I will focus on detailing the leather belt across the chest, on the edges off the upper part. Off the belt, I will draw a succession of little arches imitating the stitches off the fabric. Those stitches will lack that's reinforcement. I will keep the telling the Carter by drawing the shape of the muscles on the arm and also adding details on the pockets hanging from the belt across the chest. I took the decision off, leaving the skin off the arms full, invisible, no sleeves covering them. Try to follow the shape of the dummy withdrew under it. I mentioned this before in the tutorial, but try not to overdraw on over the finding muscles on excessive definition of the muscles will make our Carter look unrealistic, focusing on the right hand, we will draw the fingers grabbing the handle off a long two hands ward similar to the ones that the German Alaskan it's were carrying into battle on the 16th century when drawing the fingers, try to throw them like a succession of battle lines. Those short lines dividing one finger from the other should be curved line slightly curved , not straight lines. This is because if you'd run to straight, they will look unrealistic and maybe even cartoony. If you watch your fingers and you watch the metacarpals bone near the knuckle, this bone looks Ah live in narrow in towards the joint that divides separates the metacarpals from the followings in the finger. The finger widens widens, so it's better to throw like short Corfe lines. This will make your hand look way more realistic. We will draw. They handle quite long with a pointy bumble on top. The held will be also quite large. We had rectangular shape covering the insertion of the handle into the hills. We will continue throwing the blade of this ward in the next lesson. For now, we will focus only in this part of this world. The hail the formal and handle for throwing the hild, the pummel and they handle the sword. I recommend you to watch references regarding this type of Swartz that I was speaking about speaking about the last connects words on also the claim or Scottish sores. All of those shorts are two handed Swartz quite large. They were used for different purposes, depending although the era. But if you watch the their design, they are especially in the cross where the guard on the hills are. They're quite wide. And this because they wanted to have a lot of protection from attack, especially from enemies who were carrying spears. Next we will continue drawing a dagger scab art on the right side, hanging from their belts, we drew previously around the waist. We will start by drawing a triangular shape off the scab art. Once we have it drawn, we will proposition it closer to the belt by using the transform to shortcut this control plus t irritating it and moving it closer. - Once we played discovered over the right hip, we'll proceed to detail the piece by drawing some straps around. It also will draw some meta reinforcement on the tip of the scabbard and around the opening where the knife it gets inserted in both. We will draw a little not to helping into fight this part better on also, to make it more looking like metal. - That's after the scabbard is fully drone. We will focus our attention on finishing the telling the belt around the chest. We will drudgery. I will not pattern over it. Once this is done, will continue drawing some fabric under the body armor. We will do so by drawing a piece of broken fabric appearing coming under the armor on the arm opening on the right side. I will do the same on the lower part of the body armour where the bottom of a sheer will be hanging from it. In both cases, we will draw the borders of the fabric pieces with irregular borders, so the far we will look torn and worn under the world fabric off the shared will draw a piece of fabric hanging in between the legs on acting as our loincloth. It will be cool to add some type of movement, toe the line close fabric so we will draw it slightly bent to the right and with some folds or starting from the upper part and coming down. So the bottom off the loin cloth, it will look irregular, curved and wavy. - The final thing we will do in this lecture is to draw the blade off a dagger the Carter will be carrying on the arm on the left side. Because I regard some sort off bandied or scavenger or both things, the knife will look completely different from this ward. Meanwhile, the swore looks more medieval. The knife will be way more primitive, with no hailed and with one indentation on the side near the tip for hooking and tearing opponents flesh. Okay, so we arrived to the end of the lecture. In the next lecture, we will continue growing our character. See the next one. Bye bye. 12. Lesson 11 Second warrior tutorial 4: Okay. Now we will continue by drawing a patch on the eye. Uh, this part of the tutorial will dedicated to just drawing detail the face. So now we are more or less ah, placing the main elements that will define the face of the character. For now, we'll start toe, follow the cross we drew in the dummy across, but which is display across the face First, the patch that will cover the right eye and then we will will place the main elements like the no, the bottom of the nose. Also the eye on the left. You should play those elements across Oh, on along the cross that we that we already created before. So it's important that you just, uh, pleases elements properly because otherwise you if you misplace the the eye of the nose, the face will look weird. So it's important that you first of all said and place correctly those elements also the mouth which will be place between the bottom of the nose and the chin. You can draw the mouth there just a thin line, and also a shorter line under the under the line of the mouth, which will be the bottom off the bottom lip. Once you you have those elements placed. You can polish some parts of the off the neck. Also, the patch we're going to start to think, make the lines thicker, so we give some consistency and may to the line also give some organic look. It's important that you remark some areas darkening them, darkening or making some lines thicker. Especially like we said the AM some many times before. The lines that are far away from the lighter lines there are opposite to the to the main light source. Those lines should be thicker mean, why the lines that are exposed more exposed to the light should be thinner. This variation in thickness will give a more organic look to your drawing on. It's important that you think in in those terms. Otherwise, you're you're drawing can look a little bit flat, or how should say lifeless even Ah, desperation of thickness in the lines makes really or gifts. Ah, a sensation off more rail. Listen if you can to your growing if you can say that So like I said, this part of the terrible dedicated more ah, in the majority toe the face detailing the different parts of the face. Ah, I will try some. Some things also the especially for the hair. Now you see me trying to draw some sort off hat or or whatever, but I when I was drawing and I was thinking, I don't know, I don't like that that shape this old Roman is experimentation. You can dry different shapes. You can try different things and sometimes it will work. And other times ah, they datum work. So you just get a try and see what fits better to your character. Also, remember when drawing the mouth apart from the landing right now, which is like drawing the master tryingto see if most it or even a B a Baird Sorry can can fit the character. Uh, those things are okay. Just like I said, you just got to try things for me at the end. Thesmokinggun touch. And this beer didn't work. I e I was trying to give to the character. Ah, the look of a bandit, maybe. Or or scavenger. What? Oh, something. That guy there. Who's Philip Rocket? You know, But it didn't work at the end. I just you raise the beard and the most of it. I was trying. I just I just kept the in the face with no beer. No, no Baird sort of beard, Uh, just just shea face. Or maybe with, uh, with, you know, some elevated off shadow off off a short ah, short beard or whatever you wanna call that. Basically, with no hair in the face except for the hit, another thing is important. You have to keep in mind is when drawing the mouth and other parts of the card is face. Uh, some parts should be should be drawn darker. If we can, we can call our like that another person be drawn. Ah, let's say less diagram or thinner. For example, when drawing the mouth, the borders Oh, the sites of the mouth should be drone with a figure of darker it with thick alliance or darker. Meanwhile, when you're going towards the center, the line should be thinner or sometimes even barely visible. This again, this variation in tone or in thickness off the line is what it really is. What it really gives that feeling off, um, off really listen Well. After polishing some details and fishing throwing What? It what it is the face of the character. Ah ah. I will continue by drawing the hair before we start with the hair. Just let me point again. Or just let me Mm remark, How important is toe play with operation of the line not only in the same lines. Also, when you draw some details, check here how I'm throwing, for example of the backs that the Carter half under the eyes which are drawn by with a thinner line and meanwhile the eye itself. It's a drone with a thicker and darker line that also that variation in off off the use of different lines with different thickness. Not only the thickness in the in the same line also lines with different thickness. It also helps to give more importance or keeps a hkifa ah hierarchy off in the details are key off importance. Okay, so the thinner is aligned, the less important less volume that it represents. Meanwhile, the darker is that it's a lying also represents the They also also represents more death emboli um, in this detail in this case, the I. When drawing to hair i e. I checked some of the some of the references that I gather on ball. So it takes some some poor trades and photos of different characters, people in the Internet and about at the end. I just decided to go for, ah, playing short hair with the sites of the head shaved and with some hair on top. You could find that type of her God in many cultures, not a modern thing. If you watch the Siri's Vikings, for example, some characters, like the Sun off Wagon, are bjorn words, that type of shortcut, which is like shaped on the sides and and longer but no like long hair, just like short hair by way longer than than than the sites on top. And I think it's, ah, face and cool type of her. Carlos Ossa. Some sort of military look tough guy. You can say Tough guy look, which also will help to get toe to convey the idea off. Tough guy rough guy who who is used to violence and all sorts off um, wire type thinks and stuff like that once the haircut is completed and we already finished coalition all the details in the upper body, the phase the torso, even the hands we would start drawing the lower part of the body. The legs and the clothes in the garden boil will wear there. As you can see, we already drew Ah, loincloth risk of its and its covering the crotch and also hiding part of the left leg. And we will start drawing the clothing. The card. There were plans and events. Some sort off batches. Another pattern. It'll Carter. We will wear like some sort of off house. Scared. Dad, the cartel will have. We should remember this, Carter. It has this type off apocalyptic bandit. Look, we can call it that way. So he will wear patches off different types off materials like leather, fabric, metal stuff like that and trying to convey the idea that he survivor heeds He's abandoned scavenger, and he wears whatever he can finds And whatever eat gun fits. I can use us Ah, clothing in a position to the character that we drew the first Carter, which was more like a ah hero type guy. Maybe you can't even say that he even he sinned ISS He's part of the same universe on this Carter. The up group upbringing off. Both carcasses were different. This is this Carter, the second guard, is a survivor. The 1st 1 is more like a ah, hero type noble knight. Also, he yes, he has some some elements or part of the arm or of the outfit he was wearing. They were probably rescue from from a previous time off previous era, with where technology and goods were more available and way more advanced, and also mixing those elements with more medieval or contemporary to the character elemental because they are like they're they're lowers that they are regressing in time. Let's put it this way. So they they are. They are still having things from the old World. You could say our world or even a little bit more even side fish into the son of the armor . You could see that in the sign off the arm of the previous Carter, but in this guy there, he's using all sorts of different styles, different materials and the arm. Or he's wearing expiry medieval, the clothes, the clothes or the clothing. He's wearing it. It's very barbarian type or survivor dive. You know, those like the, for example, the the health scare scared that that we drew on top of the left thigh, which is like, really, really made off patches off leather with fixed ditches. Also the weapon he's carrying on the left hand, the type off dagger or short play that he's carrying, It's ah in the way that is. The sign shows that it's quite brutal, wide barbaric. And this is important because you, in order to convey the idea that he says, revive er him. He lives in a very tough world where you where you can use anything you find us a weapon. This this blades short blade this knife for that or thick dagger, whatever you wanna call it should look barbaric should look like something that maybe he made it by himself. Maybe he founded ah or he still hey, hey. Found stolen. It was stolen from somebody or like whatever. I don't know. Like a piece off metal. Quite brutal on threatening that he's carrying. Yes, I will. We will talk about the the big swore the land skin it type swore that he is carrying or he's on the other on the right hand. But we should talk about it later on. Regarding to the sign of the bans. You should think about the plans like some sort of diet. Bans maybe made off thick leather or oh, are some sort off material, which is goes quite tight to the body to the legs. In this case, when you when I'm drawing the pants. Also, I I took into consideration that the Carter will wears knee pats so those Kneepads it will be strapped around the knee area. So when the band reaches that part of the part of the leg the knee way, we should draw some faults on top of the need, because the most probably for sure, the fabric will will create folds and wrinkles. When when reaches that point, because the straps that that fits the the need pats to the the leg will tighten some parts of the fabric so that that, for sure will create some false because the fabric will fall on top of that strap and will fold also will create some wrinkles. So you will see me drawing those lines and also making the shape or they or the outline of the plant ah, living more wavy. We can say that for for the for the falls around that area. Also, when below the knee pats, um, we will draw some straps or some sort off courts around the no. More than course will be more like straps will be a little more flat on thick, and there will be tied tighten around the around the sheen area. Um, you can see this type off lacing or strap, so I don't know, like, probably like a sort of placing around the around the machine area. And it's common in some some medieval or or lower Leymah diva clothing the people, Villagers, the soldiers, even though we're wearing that type of lazing around around the machine area. In this case, I did it because I think the guy that wanted were some kind of protection or something that makes the pants tighter and also creates on thickness in this area, mostly because the Carter probably ah will wear this type of placing for protecting himself from blows on anything other that those lessons will protect much. But it will create some extra light layer protection you should think about, discovered like again, like as somebody who was a survivor. It is not like the previous guy that we drew, who was wearing a full body armour with some, I think, Ah, Kneepads and shame protections discard her. Like I said, he is quite broke. So probably he's wearing whatever he can to protect himself. So is why I took the decision to keep the knee pads so he could afford to carry this type of protection for the knee pads. But he couldn't afford anything else for the for the shin. So this is why I took the decision to use this type of lacing or straps for the for protecting the sheen areas. Also, when drawing the lacing or straps around the sheen area, you should think that the fabric of the band will be also stretch and so false will will be created because of the tension that the straps of laces create. So you should draw a couple off off folds like I did in the shape of the Carter, at least a couple, so you can. You can convey that idea that the fabric under the laces are straight. It's being stretched by by them for the feet. I took the decision to draw some health boot for the character, also on top of the off the booed. Uh, maybe I'm not on top of the boot of top of the feet. I added an extra protection, like a plate that that the that Abboud has on top off the feet and it's tied by a couple of straps. One goes around the ankle and the other one goes around the feet, and that played protects the feet area a little bit. So, like I said, the the guy, there's no fully armored if you can say because. But he's wearing some pieces of metal protection and different parts of the body, - another detail that it will be very cool toe finish. Ah, now that we're drawing this part of the body, the lower part of the body will be the loincloth, the piece of fabric that it's that that is hanging between the legs. This'll on club view to the wavy shape off the fabric will be fold or or bent in one side so you can see the other side of the fabric that because of the because of the curving motion that the that the fabric is doing the detail is very cool because it's not only gifts sensation off movement to the character also create. It also gives death toe the the clothing that he's wearing into this carter yourself because it represents a different planes or perspective, so you can see the part of the fabric. It's Ah, it's in front. The some part of fabric is in the is in the middle, and also you can even see on the right side of the fabric and the fabric curves inwards so you can even see a little bit or the other off the other side of the fabric. Also about carving inside. So this is a very Avary cool trick, you can say to give more toe, get the sense of motion. Also, to give three dimensionality to the clothing the he's wearing, you should use it if you can, and that all Onley with with materials like flexible materials like this, like this loincloth, which the fabric is not. It's not like leather, which the leather is way thicker and probably will will not be able to bend like that is so flexible. But this long profits. I decided to make it off type of fabric, which was less rigid. If you can say compared to leather, for example, harder leather so it can create that that cool movement in motion withdrawing the blade of this work. I'm going toe use a new layer and I will hide the rest of the growing by making the other layers invisible, so we'll get no distracted. Ah, what I will do is draw a couple of power lines, and Photoshopped is pretty easy to through perfect battle lines. You just got a press shift and then drag the brush in a vertical line and it will create if you are using your any throwing for Sorry for any brush for drawing their you're using will create a perfect straight vertical line. If you do, you can do the same for or something lines. You just gotta draw them press shift and drawing or something. It will create an hour or so little perfect line so you can create a couple of those lines . And then when you you have the line to just got ah, press control T or go to transform tool and you can make the bottom narrow by playing with where the distort tool Oh, that from the drums for sort of with by playing with the transform tool, you can make the bottom narrow, narrower and on Duh. It will be the bottom of the ladder off both lines here. But it will be the people, this ward because this war displaced downwards vertically. And the part which is ah well, the thicker you can make it wider. The bar that connects the blade with the with held on the onda rest of this ward. So that will create Ah, the sensation of ah, long pyramid if you can call it this way Ah, with the base of the blade thicker and the tip narrower and then what? You can do it also play with different types of the sign. In this case, I I wanted to draw a landscape type of sword. So you will see the blade doesn't connect straightforward with with with the health, it will have Ah, some sort off small hills a small small cross in the middle of the plate. This is more healed or small. Cross that you can find me not in the mail off off the blade, but brought like, ah, in 1/4 off the blade you can place that the that cross. Ah, it was made for defending the the carrier of the sore from from blows from long range weapons like spears and stuff like that. This type off the sign of this weapon ISS it waas created around the early 16th century, late 15th century, and it was carry. This type of sore was carried out by the land skin. It's, um and they were defending, and usually they were use it for defend against. Ah, Like I said, long range weapons like like spears or bikes and the This little cross. It was usedto not only stop the the spear also to trap it and make the and May and make the carrier of this ward ableto even break the spear or or or if, in case, the we couldn't break it just, like try to direct the drag the spear with him so he can he can unarmed the opponent and also the lot the long the long blade held the warrior, or that asking it to be effective in ah, much larger distance that other type off towards that there were short between the hills on this little cross. You will see that I was too drew some some dots there. And also you gotta think in that in that space, not us. Ah, part off the blade. Not cutting part itself because that part was probably usually cover by leather and some metal protections. Because this part needed more enforcement. Inter enforcement again, it was the the main. The main objective of that part of the off the weapon was Wasn't toe really inflict pain on the opponent? Really cutting nobody? It was more designed to like, I said, to trap in the spear or other type of long range weapon like a pike and be ableto one arm, the opponent, or even break the the weapon itself. Once the big Swart or Alaskan, its word is almost done. Ah, I will dedicate what it remains, what it's left of the drawing to polish and detail a bit more throwing itself. Ah, will thinking. Some lines also will try toe. Add some ah, the courts or or straps to the pockets that Carter is carrying, and, ah, on the belt around the chest. Also, I will create some sort off lace for the for the biceps, and those are small. Details are totally up to you. You can even add more than than the ones that I added. You can even create some breaking news in the pants if you want whatever you think, or you feel that it will make your cattle look tougher. Rocket. Like I said, it's all up to you. By the end of the off, these left this lesson. You will see me doing a little trick. Doesn't that works quite well, at least for me when finishing the drawing? Sometimes I feel that as you can see, the drawing, it is for me. It's It's quite okay. I really like it, but I feel that maybe I would love to make him a little more oik. So for that, if you can take the proportions of the guard, they're probably He's around six heads, six heads and 1/2 till and I will. I would like him. I like him to make like to make him, um, taller. So he looks a little more right. So what, You can use this once you over the whole layer, you can activate a transform tool control T again. If you are throwing in photo shop and just stretch a little bit just a little bit the the whole character. So it looks a little bit taller and longer. That again will helps to create a sensation that he that he's more Roy because heroics of probably the proportions he will look longer. The proportions will reach almost the seven, the seven heads told more or less if you feel maybe you're stretching, they had to matter. Looks a little bit weird. You can even select the whole head with lasso tool. Ah, got it. Bases in another layer and you gonna stress the body and then plays the head again on top off the Carter so well that the body will look look longer, but the head will remain remained the same again. Let me, let me tell you that if you this b cautions that not over exaggerate or over stretched the card because he can look ridiculous. Like I said, right now, he looks for me. Okay, but I again this does has the little tricks that you can use when the drawing is, it's finished. It's done to make the whole drawing looks local a bit more cooler, so that's another little trick that you can use. But again. Don't Don't know where you said Be very careful when you when you are using the transform tool for stretching the guard there because you can really make the garden look weird. Very easy, so be careful. 13. Lesson 12 Second warrior tutorial 5: Hey, what's up? Welcome to this bonus video. This is gonna be the operation over the Bandy about its face. We're gonna create a different variation for the head like with it for the night here will just stick to create a variation of the head will not work or rework other other parts of the Carter like we did for the night. And he What I want to do is just really, really change the head position at all. Completely sorry. Ah, you can see in the image. But I'm starting to grow a read role, even the dummy position of the head. So we we will remove their head the lines of the head from the previous dummy that we use, which was like looking slightly downwards and the face could be seen frontally. So now we will will throw. I will draw this this new head looking no sideways sideways, looking up in a 3/4 view. Bye bye. Quiet! What? Excited! Quiet! Ah, strong 3/4 position of the head. Quiet haven Or almost almost you could say sideways. You will be able to see the left side of the face. Ah, very well. The let's all the completely left side of the head almost and slightly the right side. Only a limit of the I and the on the bone cheeks. Um, here and ah, this one of you do, you will, you will basically, we'll see me re using all the techniques that I already told you in the lectures. The goal of this one is because it is toe to have a more relax approach. There's no like a lecture percent. You have to be 100% focus on learning techniques because I asked him they already being doing that in the lecture. So in the lectures. So I want you to just relax and watch, uh, working and how I I start toe reshaped characters almost like this. In this case, for example, I'm gonna redraw their the head from scratch. And this is a transformation that you can that you can use in your own characters like ah, that for the night we were way more conservative that we would get the face and we just change that hurricane removed the helmet. But the main elements were there right with the transformation waas clear. But he wasn't that that drastic here, which is like removing stuff fully, like, really removing. They all head to every drawing on you want because I wanna have more variations that when 1/2 mawr more options and after dese mornings video. When you watch the third, the third Carter, that call the the Man Max type viewed this. This is like a whole rework off the character is like sticking them the base of the dummy. Ah, sort of the reason. I mean, the knights, the Knights character tonight and just withdraw it completely. The only thing that we were look will keep sa Why will keep is the just based on the the race I mean, that we used for the night that said, the rest will be almost completely changed. Like like probably like 90% change. But here I didn't want to start like just, um, introducing you to Ah, full flesh variation off a character s kidding everything from the crowd. I just want to start with something a little bit less less dramatic. So we're just gonna take their head here. So back to the one that way. What? What? What I'm doing here? It's ah. Is it typical thing like drilling down me. I'm gonna I'm using ah, soft brush or with ah, with the passage is 100%. But I'm tryingto really work with very, very subtly and Berries with very subtle strokes story and not to never when you want to drug the underlying the Daniel or the underlying structure that well, that will serve you too. To draw the rial final the final line out on top, try toe be be a smooth stump Don't create, like, really strong dark lines. Just create some some some lines that in ah in ah Graystone. Or you can do this just using a great tone Or you can use, like were using the Ben pressure to not really create those dark, dark lines. Or you can play with the layer rapacity or even the the brush capacity. Whatever the way you choose to whatever is the you prefer way toe to do this. Ah, just be my guest school. Go ahead. But always remember that you want to. You don't want to create those dark, definitive flying's when you are, I guess, is getting the dummy just go for ah, for some some brighter tone. Some sometime that it's not very, very contested for the for the underlying structure for the damage. For when I'm during one on drawing the head here and I'm picturing like I said, this guy quite heavily looking to the to the right. And yes, you can see the the I on the right. It's barely seen you. You can't even see the nose torturing almost our off the whole ah, silhouette off the face, the nose, Really the point of the nose Really books about books out a little bit? These means that this means that the Carters looking quite sideways. And you gotta be careful with that stuff, right? Because if you accelerated two months is becomes a profile B of the character, which we don't want to wait, just want to make him look to the side. But but without the the food profitable profile view, you have to avoid this type of things because if you drove him like completely sideways, you're gonna end up with a flat character. And for constant designer, for the sending a car there always always, always, always stretchable for 3/4 views. If you go frontal like this card does is front and you have to break the silhouette little bit. Try to create the feeling off really mention out. Even if the garden like here's front, it's frontally. You gotta see how I'm how I'm putting ah hard through the weight of the Carter like like moving towards the left leg. Left leg is like really is with the leg. It's the weight of their bodies and it's on this leg and you can see how the bodies is slightly turn to the left, so their arm on the left it's a comes from behind. You can see you can see the arm quite well, but no, the well, not the whole arm. Just the for example. The elbow is hidden and this graces. And even if the the you can perceive like the viewers front all, it is not a icis s Ah, a subtle 3/4 view, right? And what I said again, like I put a weight on the left leg and no Britain, not this year in their weight, evenly in both flex. And the purpose of this is because if I do that, you he will look like very rigid. So I want I want to play with the weight off the body. I want to play with the perspective of the body, even if it's a slightly and and also I'm wanna. I wanna play with the rhythm off the figure right rhythm of the body. What I mean with the rhythm of the body is like again breaking. The figure is, if it was like fully frontally will be like it will be all one line from top of the head to the boat to the feet. It will be like one vertical line, not the gays. Here. The bodies is creating rhythms. It's creating a pattern off lines even when I'm throwing now the head like in his wise looking like this, like 3/4 slightly few core, some sort of slightly like wide, quite heavily 3/4 view, almost almost profile view. The head is looking a little else. It's a little bit Ah, bend it towards the left. Meanwhile, the body, the torso, it's pointing. It's like me towards like from there. It's coming from from the right from the upper part to the right. It creates like a diagonal line that go the that goes at the ghost, the to the to the hips and the legs, which is like more on the left and again the leg on the left, like access acts a PSA pillar. And that goes, Why vertically, I will say like the like, the head slightly turned, slightly bended towards the towards the left. I don't know if this makes sense. It just create the body. Creates, have broken rhythm. If you can see the head goes like I said, from up from the top of the head to their to the neck, it's a little bit a little bit. Ah, bended toe, the last the body brakes. That that line is no and starts like it does the opposite events, from from the right side, toe the left side and the leg they like on their left like that's just a little bit of same of ahead. Almost looks like vert is like a full vertical line, but if you watch carefully, it does that that it does this or this. This ah creates this list. Little diagonal line I a little bit. It's quite practical if you watch about, but if you watch the contour earn and how were they were the hip is and where the feet iss like, especially the hell it creates a little bit off this that IHS septal diagonal line. It's very subtle, very subtle. And I'm speaking always about the left leg because it's what it's actually dislike. Sorry, this leg acts as a pillar and because the facts as a pillar and carry so the weight of the body is the mainly together like it's just like helping supporting a little bit. But And this other leg creates very accepted the iguana like this one. Yes, this one is way mark center there, like on the on the right. So is this is great rhythm. Um uh, motion. We saw emotion. I don't know from explain that I explained this right is creating some sort off motion in a static position and this is this is quite difficult to do if you are on a newbie artist, because usually you are. It doesn't really make sense that it sounds like an oxymoron. Like how I can create emotion without portraying or drawing ah, dynamic action. But it exists. It happens. It's is the rhythm in the body, and it sounds like a 90 something. But it is, it is true is like the different position of the different elements of the body. A really create that the more that emotional line. Okay, so try to avoid very strong vertical horizontal lines. This create this? This would give the impression that is, that your characters rigid and try to find, uh, these motions Well, back to the head on now I'm detailing the head of ID R B. I placed the elements and I and my process was the usual. Tried to draw Ah, some sort of sphere with a square bottom to create the chin. Then you do the you create that cross line and start toe throw the elements on top, like for along the vertical line You position the ice along the ground or something lying. You position the ice now and along the vertical I in your position that nose and the mouth and more or less Once you have those elements in place and you like what you see, then it's timeto start to add detail and really make everything stand about like extent, distance make everything stand out like really nicely. I'm althought I'm using the same brush and brush is the thing that is quite personal for drawing in photo shop or any other software. You have to use the brush that really you re like for me? Ah, the graph Graphite die brushes are okay. I don't underlings like them. I just for drawing If I foul if I was, If I was drawing, for example in procreate. You have very nice brushes like that. Mimic. Very well. The pencil graphite. Also, you have those brushes and Photoshopped. But really, for me it looks I mean, the regulars soft branch off Russia. Even the Haram brush with, uh, with transfer more activated. They were quite well for me. I mean, I'm not I'm not very peaky with nothing. Um, if I was, if I was drawing for black cartoon guard that I will try to find very, very hard edged brushes because I want very clean lines. Meanwhile, if you maybe I'm you are drawing Ah, more realistic Carder. But yeah, you can go for a graphite pencil. I mean, it's all up to you. Ah, well, no, I will not try toe to persuade you to try to use one brush or the other because I don't think that that's very on is you're using a very wheeled raza. That's very we're Decca created, creates very where Dexter's and really makes your line look very difficult to read. If you just use, ah, any breast that you feel that the creates ah y credible line, it's OK. It's it's It's more about personal preference on the other thing. And I don't reduce any special rushed in this case. So I d d the medium even attached as a resource. Any type of Russia's in this in this course because I will seem like a I People should draw word with whatever brush they feel that it works better for them, and then they feel more comfortable with it. So, yeah, and again, like when going back again to the character, um, the the haircut here that I was trying to go for, I was thinking more like a Viking style on his idea. I wasn't watching any type of reference here. I was like, I think I watched Vikings the TV series and I was like, Yeah, I like this. This this style, I'm gonna make him like you health the sites of ahead shaved and yeah, Yeah, but I forgot to mention this when the lectures. When I was watching, When I was throwing the first version of the head I was I was thinking about the gladiators from From the From the TV series from the 2000 school was called Rome. I don't know if you what if you anybody watch that serious or you know about that seriously , I really love it. And they have some some episode that they have a gladiator's there and even the Roman soldiers they will, having that type of short hair like, ah, limiting uncharacteristic. If you can say that, it's just a sure here, a little bit brush. Ah, he's brushed forward or a little bit side and short hair, basically. And for discarded for desperation, I want to go for something way more like on something that really stand out more so immediately. When I was doing this kind of like, I wanna do some sort off biking type haircut or whatever, so he will have, like shaved head long, her on top with a ponytail and maybe, I don't know, like something. Whatever it is, could be, Ah, some sort off bride or whatever he, he's ah, comes like hanging from the side of the head. Uh, yeah, basically that. So I want to go further. Something 11 more, more fashionable. You can say something that is more cool. I don't have the day. Those those Carter's are part off this you lower or universe apocalyptic one, which is like, in a way, medieval ish fantasy by air, but with with traces off, off, off technology or leftovers of technology story. And yeah, I I think everything fits here. Discarded by a had no, really no real technology in it like, except from maybe the the those backs and straps that come along the chest. The a little bit reminds a little bit like a commando type, um, that pockets or whatever, but with a very, very even with even those pockets or backs look very. They have that the medieval Bible, so because they have a lot off six stitching leather the other stuff. So I think this is the less technologically advance Carter for a compass compared to the night, which had, like those those off these Google's on top of the helmet, which we're looking more like 1/19 century tap goggles or even early 20 century from aviator type style goggles or even being touched a motor biker schedules and the the armor plate was it was a little more technological. But this guys like it's in a ways up, is so sort of barbarian or Roque diving with what I call it the Bandit for one reason. And and I when I was in the beginning, when I was doing the guy I was thinking on weighing in a gladiator type guy, even if I wanted to make him like more bandit. But gladiators that this is why the Rome inference Ah, was waas ah was prevailing and during the creation process. But more and more when I was strolling in, Ah, the more Viking wrote that guy, Um um, influence, if you can call it gave to my mind. And I was thinking, Yeah, when I finish the this first version, I will probably I will reward the face angry. And I would go for more like this, more like Viking type of guy. And even you can see now that I created some through some patterns on the side of the head like he has some sort off that too. So what? Not Ah, or could be whatever you know, it's a lot to you I could dark in those patterns. Those those lines that you see in the side of a headlight for really remake clear that their taxes. But I don't know what they are. Maybe they can be part of a hurricane that the guy has likeness. They got his fair and they they they they I mean, whoever the was cutting his hair but created created those patterns. But I think more like that. So I didn't want to over commit dropped docking those those parts. Also, I didn't want them to stand out as a smashed compared to rest of the face. So this is very important. You should always emphasize more. It was them. And when you're drawing the head, I mean you should emphasise always in the details around the in the face. So the eyebrows and eyes are very important that those those again does have a lot of contrast. You can talk in those spots like it did for the eyebrows, so they really stand out. But if I start to darkening the side of a handle with those patterns those statues that maybe we'll create a conflict. Oh, and destruction from the main face elements. I So yeah, here They said it just to leave them, like some something that's suggested more than than really, really stand. And they really stand out. Okay, so you're here. I'm just pushing details, like trying to clear lines. I if you can see like, it is only ask this. This is the thing that I didn't commented when the rig elections. But, ah, sometimes I leave part of the underlying structure the first sketch in life. I leave some of those and I I honestly lived in purpose. I could clean all, lift everything and leave everything to you. But I think it's part of my bit of my stuff. I like toe. If I'm showing drawings to people, I like to leave every a little bit off the the of the underlying off this of the previous sketch of the dummy or or or the first of the first lines that you use for for blocking everything I like to live a little bit off those lines there create a little bit of dirtiness because I think this this great. Some sort off. Ah, texture. Some sort off, even noise and ally like that like that. Other artists are very clean and then they like toe leave everything. The line are super clean. No, you can see no snow sketch under and nothing. It's not my case. I think my styles more rocket. I like more police, some texture. Even when I'm painting, I like to use like texture that extort S Stroh Russia's with Bill Believe quiet. You have some some texture There you have create noise and my and I like to be very expressive with brush strokes so you can really see some parts of the growing even I love it. I'm finished if you can see if you can call it that way, because I like toe to create a sensation that it's not perfectly define. And that's another thing that the beginner artist do they like toe peeper detail, a hyper detail, sorry everything, even with the drawings and they want to leave everything perfect and they polish so much all the old old, different parts of the character that at the end, it's difficult to really put a point out, which is the main point of attention where it works, which is the area they are the eye off. The viewer should focus. And this is why I'm leaving some parts of the cartel of dirty 11 under. Fine, because sometimes because I really like toe make there to create Ah, sorry to say no to really help the viewer toe immediately identify which is, which is the part of the card. They're all the mains tell the main focus area on the credit. In any case, E for when when signing guard is the main focus area, I said it. The lectures by the main focus area should be always the head on the shoulder, I think, because we're wired to go toe to watch first those those those areas When when we are looking at the human figure, I think it's important that you emphasize those places that you do detail those places you put like the higher amount off con trust there, and you leave other parts of the body like less with um, with a less detail or less lesson station. You have to just watch the how that the pants and the new bacteria they have less concentration of detail lines compared to the upper part of the body, they have way more blame or the amount off off lines and details that it's bigger in those in those areas. And this is on purpose. You you never should concentrate too much off your off the off the amount of the tell you that you put on a harder in areas that it will be, they have less importance that it will not be the main focus of attention. Okay, so, yeah, you have the garden down here, it's Ah, it's looking quiet about us. I mean, uh, maybe it sounds like arrogant to say that because it's it's my Carter I was drawing about real. I really like this version better than the 1st 1 here. What I'm doing is like I was watching the Carter from far this exercise. He or she do Ah, quite often. And because sometimes you get trapped, get, uh, you draw too close together, you can you lose. Um, you lose that the perspective off the whole body of the tractor And here, just like, create a quick selection of the head and really scale it down a little bit because I wanted to make him look more like a like a heroic type guy. So if I really use or re scale a little bit the head and make it 11 smaller, the without without the Carter looking weird, you have to do it. Do this very subtly. Ah, with ah be very cautious when doing this. Otherwise, you kind of look ridiculous with very small head, Very wide shoulders. So So you gotta do it, like in the right way. Very like I said, be very gentle when you know, this was this little squeezing off the head of a little little re scaling. And so now the gardener. But he's big body wise. He's bigger because they had this 11 smaller and he looks way more heroic. Okay, so we got for doing this, are Let me repeat it. I want to put emphasis on this. You have to do it. It was if you do it, be very. Be very careful. I was Well, look ridiculous. So, yeah, there's a little trick that I do sometimes also, and I It's the end of the bombs video. Hope all this talk. Um, verify some ideas and help you help you see things that way. I'm seeing things and hope this information was useful useful for you. And don't forget to watch the next bonus video. This is the next one. Promise. Because when I be a long one Okay, So, um, don't miss. This one was Video is 1/3 character. It's the the mad Max type guy. I think you're gonna really love. It is a long one is more than two hours. It's two hours, 20 minutes or something like that. So watch it and you will see me like redrawing the whole cracker is a very nice experience because it's uncut. So you will. You will be ableto see me working from from scratch a doing mistakes, trying things and and you can see the whole process like like like we do it like the pro artists we how we work. Okay, See you in the next one is video. How fun 14. Bonus Material Third Warrior: a gun here. Welcome to these bones, beauty. Oh, these bones video will be a more formal approach or more informal. Look, toe what we already did on the previous lectures here. I was sure I will show you the whole process of how I taking where the first counter, the windy tonight and how we can really change it and modify it to really look, ah, very different, Very, very different. My goal here it's ah, mainly two things. First, to show you to demonstrate that you can take whatever whatever thing you draw. Ah, as a basis. Whatever Carter you already have. And thanks to the magic of the digital, you can just make a copy and a duplicated layer and just reworked the character and my purpose. My second purpose. It's also to show you that even if you have a very good Carter like that, you re like you can really push the design toe. Ah, whole different thing. And this is that again the magic of the digital media that photo shop or creat our or keeps tripping whatever. So for you are using the magic here is lie. You can allow yourself to really experiment and try different assigns, but with the advantage that you can already you so you can use the base. Let's put it this way too Damn. Either you already created or even the character you you have and just start to erase things and modify things. And if you don't like, something doesn't really matter because, um, you just can like to control sea and just go back Or would you just can't duplicate whatever you did. And if you don't like, whatever changed you did Yeah, just go back in and work again from what you already have. Um, for this character, I will. You probably. So, uh, the characters previously and you already know which got this is gonna be this third, this Boehner's video card It will be the more like the more mad Max type guy. More mad max type looking. Ah, warrior. Ah, Hasn't he has some time ballistic luke, But blended were blend with with other elements. And in this in this video, because it's, um, cut. One of the only thing that I did to the video in terms off anything is adding the voice that you're you're listening run out and also accelerated a little bit. I spirit up because the original video was like more than two hours, two hours and 1/2 something like something like this. And I thought it will be I think you I feel you will get bored to listen to me. It's speaking to and for so long. But because you already did the lectures and you follow the steps for the other card is this I thought that this part this third what? This bonus PDO We will be more like speaking about my my thoughts about the signing also how it translate to the Carter that I'm drawing here. And I also wanted to do on on almost got almost unedited version because sometimes when you ended things you are losing obviously part of the process. And I want to show I wanted to show you I want to show you sorry that even if I'm, I'm a I'm a professional artist and I and I do this for I work as a professional con start . This is my this my living could, But so even that I do mistakes and I do things that I that I think we will. It will look cool. But then I changed my mind and I wanted to show you this. And I want to toe to really reflect that the that part of the creative process in this bonus video. This is why this is This is almost unedited. This subtle isn't cut. You will see you. You will be able to see me changing my mind. So here, for example, if you remember something about the Carter when you saw it in the presentation in the intro , the course, it doesn't look like that, right? Okay, so he's not. He will not be wearing this type of helmet. So why am why I'm drawing this helmet and keeping that type of SciFi should look if I if at the end, the Carter will look totally different, they're not even not even related. And the thing is like for some Carter's, you can have some references like the ones we picked. But you don't really have a clear path of what you want. And that And that's what happened with this character for the night and the bandit. I knew for both that I wanted to do a certain type of carder. I didn't have the full vision of the character in my mind, I have some ideas of what I wanted. But for the third Carter, it was open. Totally. It was an open thing. I didn't. And in a new in the back Then when I was collecting the references, if I wanted to well, more try ballistic. SciFi. I didn't. I am a new So I Just when I started to grow this third version using the night that's a base, I I think to myself whatever. Whatever Whatever happens, whatever it turns out to look Ooh, that will be it. I have No, I have no briefing to follow. I just wanted to come out with some something different. Different from the night and different from the from the bandit. Certainly. I wanted to make something that there will be. Ah ha! 180 degree. Ah, changed. And this is why When I started toe to read through the night and tried toe trying to transform him into something different, I first of all, I I started thinking and why we don't Why would why I don't push the more scifi sh ah em into the guy. Remember? that the lower off these world or whatever, whatever type of floor dad that this, this Carter's discounters have it wasn't apocalypse, post apocalyptic type of world, with with some some elements from from the previous world, which it was more technologically advanced. So I want to do well for more like this direction. In the beginning, that was mighty. I want to push more the sci fi aspect that, like if this guy had so found some technology and he was more like technologically technological, I don't know the word exactly in English. Sorry. In this Asi already probably know every isn't my first language, but yet you understand, like that he was more techy for surely was more taken funds And he had better, better weapons and more advanced weapons and arm or whatever. But as you will be able to see later, later down the road, at least for me that work it wasn't it wasn't looking like the way I wanted to. I wanted toe him to look so in the screen right now you're you're seeing me or probably so me, like trying to find references, um, another part of the process. Sometimes you the references you found are cool but you're still need some more inspiration . Is that that? Is that what happened here? I just went to my my boards and Pinterest and I stopped dough. I started to try t check their more elements or try to refresh the the ideas that I found. I put on my mood board and try to check if I so I need I could find something else that really inspired me and that that was said. I was just trying to find references and trying to get inspired and and even then even that I was starting to go for more scifi She look also the primitive element. Waas was there. I wanted to include it. I didn't knew how so how I was going toe blend both things and but I just sold later on. So I just I just was trying. I just stopped trying trying things and for me, the helmet Although it was looking good, Cool, It didn't work very well. It wasn't 1% what I wanted. So I just at the end, I just raised the erased the helmet, that type of scifi helmet that I was drawing and and just like that decided toe. Let's let's rework fully the upper part of it or so let's see what? What? I can calm what I can I can create. And if I if I decide I'm sorry something cool, Something that was really charismatic I will be happy. It will be like Yeah, Chief Michael. So I decided, first of all, to push more primitive Ah, VIPs on the character. So I started having the big hearings with horn like earrings that if you if you watch my mood boards and if you watch their references you already saw that the some of the images that I use is the reference where, like African natives with wearing those ivory horns, like like they were some sort off your ring, so or not And it was I mean, those images are like, just fantastic. I I have been on my mood boards like since forever because I when I found it in and Pinter's like messing around for me, it wasn't it was like, wow, I want moment. I think like I would someday I will draw Whole drove this. Oh, I will use this like us inspiration and yeah, I tried to use it here. It didn't work 100%. It wasn't 100% of what I wanted. Okay? Yeah. I mean, it was it wasn't bad. I mean, most of you probably will will be even now asking. Hey, what happened with the helmet? The helmet was looking cool. Why did you erase it? And that's another thing. Um, sometimes what is? Look for your wife. School for you. Is it for me or for something? Also somebody else. And it's And it has to. He has to do a lot of whether What is intention you? What is the thing anymore? Up trade. And here, when out. If you if you're watching me, I'm trying to draw a helmet, right, because I'm trying to blend their military scifi thing. Or at least this more than military with their with their horns of a year is ice horns and even this this type of neck lace necklace with clothes or whatever they are. I don't even know what they are. I am throwing them that I think like that could be like small horns so close or whatever. I don't something cool, something primitive. But at the same time, I wanted to blend this primitive aspect with more, with more military stick, more or military modern look. And in all honesty, I think when I started to through the this helmet, I just forgot Fuck up. I want to be honest on that's what happens. Your Sometimes you try things, anything work, I think if Jack, if I just, um I've just start to move for just move forward just with a primitive look right away it will work better for me, but because I want so So let's put it this way. No obsessed. But I was, like, so focused on trying to blend mourner, military or SciFi military with tribal elements. Uh, I just I think I just missed the the previous design because for a brief moment, if you remember moments ago, Bikaner was wearing some sort of pointy tail that I created or something similar, and it was fully primitive, at least on the neck up or the shoulders up. And I think it was looking better way better than these. Hamadan is running out, I think Ryan with the helmet, but I think it's almost to small. It doesn't really communicate or really a standout and and this is why I'm trying something . Minutes. So there some many things and different things for they had because the head is the main focus area and issued to stand out. And for me Ah, none of the elements I was driving on. The signs that I was putting on the upper part of the torso was working. Nothing you maybe are thinking is he's just like trying folks Aziz focusing a lot of his attention on the upper part of the torso. And there what is gonna have it with the rest of the body, right, Because the rest of the body is still looking like still wearing the same clothing by the night. And the thing is like, I'm so focused with head. And the thing is because for me and when I'm in that type of move that I'm tryingto don't have a clear idea of what I want or a clarity with that which type of the sign I want to I want to create. For me, the best thing I can do is tow to have at least the upper part of the torso head on the shoulders like really, really toe really have them like if not 100% completed, because I don't think you should do that and leave everything like I'm finished or let's everything like barely a 1,000,000,000 burial touch and you have just ahead on the shoulders like, fully done. I think it's great. This is very unbalanced and creating creative terms. But at least I wanna have that. The sign like, really, Really How is the right word to say I wanna have the design, like, really off fully clear in my mind. Okay, this is what I want. Maybe it's not the Leinart is not perfect, but maybe they know all the elements are really polished. But I know that. And I know that in the signing and like speaking about the sign What? Well, the enemies that already there that I have in the upper part of the body there are working . They are looking cool. And if that if that area which is the main focus of your works, I know that I can make the rest of the arrest of the bodywork intense of the sign. So this is why this is why I'm iterating so much this is why I'm trying things for this part of the body. I don't know if it's for you the same. Like maybe you you are not so worry or your you don't eat the head or the head and shoulders to really work since the beginning for make everything like Look for me, it's ah, it's very important And it make a anybody makes me feel and more more secure about the design more secure about drawing. If I know if I know that the face and the head and the shoulders off this area is working, okay, it makes. Then I'm 1% confident that the rest of I could make the rest of the royal work. I could have maybe some some difficulties on the way. Some animals that for other parts of the body that need to be we work available. They I need to spend some time trying trying things also. But I know that I'm almost 100% confident that they're drawing will work. And here's another Qatar. This is a great moment of catharsis in drawing one, so to do what that war paint to the face, they're creating that that look off Ah, and I d card. There's this has a school painted on his face because I think this is That was great. I think this was a good moment for me that I was started toe try things and try to push more travel listed. Look. And even if this this wasn't the final look of the character like there at least I knew that I was I was onto something. Now that I want to go in that direction Because because the other things were working that the first helmet, the scifi have wasn't working the military any more, Like more than military. Luke Helmet wasn't working either. So I said, like, you know why? Sorry for the four day, but for fuck it, I'm gonna go for ah, for more for a full driving more. I'm gonna try something that really, really, really looks or stands off us, us really tribal or or even my max style. So, yeah, that was That was that was my my choice. And even if I'm right now, while this this warping that I'm adding and is not working, really, and it's no what? I'm gonna half of the end. Yes, This was the first the rial first step for me that okay? I want to go from more into decoration and the work pain. Ah, they were the war pains. Ah, really? They really help me to really visualize the type of guy that I was drawing. And what I mean by Dad is when you are drawing Carter's, you also are trying toe convey an idea off who this character is. And this is this is something that it's more like is not is not something that you can create. It isn't there's no well, maybe there is a technique, but it's the idea to quote to really transfer or create, um, some sort of psychic psyche to your card, right? That he's somebody that he he is a type off man or woman, right? And and this is the thing like, once you have to, you can give personality to your character the then then you are into solving, because for me, previously when I was throwing this this helmets and stuff, I don't know, even if I did, um, I didn't I didn't feel it felt that the I don't feel that that Carter had personality and right now when I'm watching the tractor, I'm watching the war paint on his face. I'm like, Yeah, he studied looking badass. Okay, I know who the who is this guy? This guy's is somebody who probably saunter. Probably some sort off. Ah, I don't know. Like a like an Indian like Indiana American tap off guy. Even if they the lower is a more apocalyptic. But I want to you I want I want toe communicate that idea. I have a tribe in my mind. They are called Paolini's. I think they're co Panis. I saw them in one movie or two and they and they were worrying this type of her got that. I'm showing right now. And I remember that I remember that clearly and I think it was dancing with wolves. I think that there I think that the name of the tribe then I mean, I don't want to say that there is bad American in its not at all, but in the movie the guy, the bad guys were the policies. And I think the good guys, the good the good guys were the Apaches write and Kevin Costner doing his role as the white guy who gets assimilated with with America, Where their parties. I think it were Apaches. While patches I don't know. How do they there the name is. But the problem is the families. I think they were the enemy and they were looking really bad ass. And they were. I mean, I remember because I remembered them because they they they were scary looking, at least for me. I watched that movie years and years and years. I was I was like, I don't know, like, 12 13 years old. And I was on. I remember some some moments of the movie that they are. The pounds were attacking people, and they were like collecting Scots. I think of the name of in English, and it was like, really while those guys are really scary guys. And when I was drawing this guy and I wanted to have done that primitive bike to the guy, I don't know why that that it seems from the movie came to my mind and, uh, and I wanted to do something like similar off course is not an American India. I don't pretend Toe portrayed him as an American Indian and by any means. So please don't be offended. But if if you feel fine about it, please don't. But I just wanted to communicate that that idea, right? The that type of Bible like the the same feeling off that I felt when I was so that that pounding India and I looking bad as it's scary and I wanted to add those servants to this guy. Ah, but also blending them with a more sigh with a more note SciFi. But let's more apocalyptic thing also, I think blends very well with them, for example, with him or month Max type off characters. Um, because they are so like wild, some sort of step warrior type guys, even they are going in motorbikes and boogies and stuff. But the Bible is the same that I had, that they have that Bible step. No months. They are like hunting and the hunter gatherer steppe nomads stable feud, but motorised OK, so I think that that that element blends very well with with those American Indian ah, step tribes that they're also they were like hunters and also available band aids and stuff like that. No, only that, of course, there were many many there also fantastic culture, but they have that element into them. And and I wanted to portray some off some off these things and blending them into this into the Carter. I'm growing right now. Also some African elements because of the close you can see around the neck and trying to may not make it make or create a nice mix, a nice a nice blend that really creates O. R. Or something unique. When I was rolling the shoulders and I was deciding the I don't know that those those ah, I will say that air on the shoulders I tried toe. I try to add some sort off leave so or hair, whatever. I didn't even I didn't even knew what I was really drawing there, right? The thing is like sometimes you just drew a us instead of trying to focus on what you are going to draw on, represented perfectly, you just roast shapes. And I do this because sometimes if you if the shape of school, I can make the shape, work and tryingto confirm the shape or try to adapt the shape to something that make sense , I don't know if I'm making sense right now, but I I let me let me explain better if you do a shape that it really it's really cool and really communicate something to the I You maybe don't know. First glance what you are drawing. But if the shape of school you can make that shape, feet will be or adapt to the whatever material you want in this case. For example, when I drew these flocks off hair or or Grasso plans or whatever around the the the arms and covering a limit of the shoulder deltoids, I knew that I wanted to add that that that Ah, I will say plant element or plan, type, element or hair type element. And but I didn't if you if you was, it was going to work. So I just I just was trying okay in our old wire, I like I like it. I wasn't 100% what I was trying to communicate. Also, in terms of shape and shape, I meaning the whole the Syrians off the character that those elements on the sides of the arms covering the shoulders there weren't really transforming the main shape of their of the Carter the silhouette of the Carter And when you really when you aren't really going for our to create for creating an a complete, different character. Okay, if you're reusing the one character and transforming him into something really different, you should break this illiterate break. The silhouette means that you really you need to create elements that really stand out and from the previous elements of produce, for example, arm or clothing that Carter was wearing and really breaking them there. The regional shapes and creating new shapes here, one drawing this guy, the those things on the size of the arms, those flock so hair, whatever they are, they were in a stat there. They weren't standing out too much, and they were and there was no really, really big. Then they were they when they were making the difference. I don't know if you are, you understand? Meanwhile, the hair, yes, the hair was creating a very nice share movement shape going to the one side and really was creating something new and different on the head. But in the around the shoulders, on the arms, I wasn't feeling that the Carter was a little bit I don't know, empty, empty, so worried that maybe some celebrity big, But I didn't. I was happy with with them. I thought they were like just Lacey work. If you can say that, I felt to myself they are no horrible, But I think this is a lazy solution. I think I can do much better than this, and I can really create something that really stands out better. But again, the whole purpose of thes bombs videos to show you to demonstrate to you that that that I make changes. I I don't like to say that the mistakes, but that's no, it's not. There's no no real mistake. Just learn from stuff, right? But you take the signing, the sign decisions, designing decisions. And sometimes they're great and sometimes they don't work. And the signing is that it's, um, is there stuff? It's very fun. It's very fun, but sometimes it can be very tough, especially if you don't know what you want and your ideas very vague. So then it can be fantastic about me. Can be very happy ever having fun. Sorry, but at this at the same time, it can be a little bit like overwhelming because you are not fully satisfied with what you're doing, you know, have a clear direction and you're just trying things. And sometimes can be a little bit frustrating because you you have things, you through things and then you think that Okay, this this Whatever element, I, uh I have the card. I just drew. It's looking cool. So it's a little state, and then you just start to do others other or read through other parts of the body and then you see you You look what you already did like, five minutes ago. And you're like, Yeah, no is No, there is no matching. Is no there. They don't work together. So I have to re change a, like change everything. I have to redraw again some parts of the Carter, but this is the This is a part of the deal. This is this part of the deal. Some, like a good constant artists will tell you that in order to avoid this this oldest erasing and redrawing and growing, it will better. You just drew son nails. OK, Some nearly is part of the concept art. Um, the constant art process of pipeline. But this story is not about concept. Artist Russell created help to draw characters, and I want to focus on more like the drawing aspect of face off them and how you can create characters. Okay, but not over complicating the process to marts. Okay, Because sometimes you are just, like wanted to draw on alert to draw an experiment. And and again, even if you have, like ah, like like some nails. And you have different the science when you are in the sketching part, which is like after the thumbnails, you change a lot of stuff because you're even that used. You do do through versions of the guard you have to draw Vs of the Carter. So even if you happy to one or two or three thumbnails, then you have to dress catches. And when you have the sketches down, then probably or if you, if you are working in a studio or foreign, our director of whatever he will ask for versions changes. So in the end of the day, yes, almost are great, and thumbnails are are great for using them, but they're more part of the professional process, and I want I don't want to over complicate the whole tutorial. And I want to go for a more straightforward, um method, especially if you are starting. If you're a beginner. Ah, yes, of course they are by blind is great and you should learn it. But in the beginning, I'm more about like if especially if you are a beginner, it's better to just have a little fun. You don't you just learn to draw cool characters. Don't don't over complicate yourself and later on you can learn the full piperlime, even that here I included in this lecture. Ah, big portion of what the pipeline off the concept artists is like all the professional illustrator, because gathering references for me is key. I mean, I could broke Guardo's without any reference, but the thing is like sometimes you said that's better. He works with you. Have something in your mind You just like, have something clear off, at least where you want to go a little bit. Okay, so hearing them in the 31 we are, and yet we're in 31 minute more or less, and I have some of my some a more clear vision or path to follow Regarding the character. I like the travel stuff. I wanted to blend it with some man Max elements on metal protections. On some stuff, there's more more than but still I'm trying things I'm not 100% happy with. With the result. As you can see, I'm tryingto through. Ah, I've been trying for several minutes to create some sort off plate protection for the chest A even with some protections full from some protection around the neck. But it's not working. I mean, it doesn't look bad, but I'm trying things and the promise, not really the plate itself. The problem. I will. Sometimes I am trying things, and I think that the problem is some some part of the guard there. And the real problem is not that part, but I. But I'm because because I'm so focused and so, so determined to change that the part that that played for simple in that case that I'm not seeing. I'm not really seeing the main problem there in promise what I already told you I wanted. I knew that I wanted to do something different to this guy. I wanted to make him stand out by the promise, like this Sylhet was it wasn't communicating. Nothing special. There was no no element breaking that celebrates. So he was looking not close to their night because he's not looking close tonight. But the night was like having similar proportions and name off the attempts of the shoulders. Yeah, the night had a cape, but it wasn't. But then, if you see the main body proportions and everything, it's almost everything is the same. And again I hear I'm trying things. Even I was redrawing the those leaves or whatever hair that he had around that were shaped that I don't know how to describe. And I were the race later on. Trust me. Ah, around the shoulders. And yeah, I wasn't I wasn't a little bit, um, stuck Ah, regarding the the upper part of the torso. So I decided to move forward to start to change things in our part of the body, and that's it and doesn't have a good T. But I got that. Look, if you if you feel stuck with some parts of the character that you don't really like that you feel that the guard just like yeah, I mean it. Could you look better, but I'm trying things and the guard is not looking how I wanted. So why don't wide? Don't just stop. Stop drawing that part of the body, the body, Because it's not what I'm trying. It's not working and just focus on another areas and trying to regrow some other parts of very card at least for for for a couple of minutes or five minutes, and then you go back, you drive in you with a fresh eye. You just trying something different and see if this works at the end. If if you feel very stock in nothing works another good tip that I can recommend the recommended to us. Just lead the drawing for for 10 minutes and living it run for the municipal. It will doom. Really, It will automatic things for you because sometimes you are so so obsessed to really solve a problem that you can. You are your to hyper focus in that in that problem, and you cannot really see there the problem from the problem from a objective perspective air, you need you so that you really need to detach yourself from your creation. Just, I don't know, just leave leave the room gold. Grab rapid drink. Grab something to either Go watch, Watch something or read something for 10 minutes. 15 minutes Does give your mind space and especially if you to tow the your your subconscious parts across this part of the brain toe work. Because even if you don't think this is happening, your precious part of your brain will be. Will be working in the solution or And And trust me nine enough, then really times it worked. Just like the touch yourself. Try to not think about the problem and the moment you relax and forget about the trying to solve this issue that is happening when you're drawing just till do something different and then you come back eight works perfect works perfect. You You will see some new driving you are. You come with a fresher approach with a different approach and you start to drool things. You start to flow better, right? Like I said eight or nine times out of 10. It really works really, really works. And if not, it will really which in the right direction, because it will show you probably will make a full. He will help you to be aware about where is the main problem? Because problem? Because sometimes it's not about the design. Maybe sometimes is because the anatomy is not working or any other structural element is not working. And you are trying t o your attaining things, thinking that maybe it's a sign. What, you don't know what? It's not working, but is no Dad sandals. OK, but what's what wasn't working was there. Maybe the anatomy was wasn't perfect, right? And your body officer, you. But your brain was telling you a something wrong here. But you were you you didn't listen to. Just knew that was something that wasn't working and you were trying to toe to solve it. Ah, 10. You know the sign and it wasn't a design. Really. You needed toe, go back and relax. And then when when you were fresh with fresh eyes with with a fresh and relaxed mind, you can really see Oh, then the problems here. The problem is the that anatomy is no to the sign. And that's what happened here. I just I just saw that the main problem. I was trying things and the main problem wasn't wasn't the the senior elements of the card that the problem was more about the sea Lewit it needed to change. This is why I raised those those whatever shapes that the here at around the arms that I didn't I didn't like them and I saw that those settlements were working and they needed to do something different. This is why I started toe, try things for the shoulders and really try toe to do something that really breaks the brakes. A silhouette. First of all, I started a little bit live very shy, like just putting some hair on top of the shoulder like he was wearing some sort of animal fur and skin on top. But again, I just I was That wasn't really changing or this was this. This new element wasn't really changing. The silhouetted wasn't adding real value to the character. It was more like detail ing instead off. Really? Ah, really. Designing right designing if in broad terms, is really creating shapes, silhouettes, something really, really and focusing on the main shapes of the body and really and and those ships out what the the eye see first, If those shapes work, then you will do, your drawing will work. Sometimes we try to fix things from the perspective for the details. We think that it details need toe. We give more importance to the details. Meanwhile, the main shapes that big shapes of the of the body will they are there, there what really makes a car there? Stand out and look who? Oh, the card or Major Carter. Look, though, uh, - I am back. So at this at this stage, you can really see that What I told you it's gonna happen. It's happening. I'm removed the for You could see on the double the shoulders, and I added, or I'm adding because I'm done yet I was still working on this, but I'm adding those long leaves and those long leaves. Or they could be feathers of who could be whatever they are really those volumes that I was speaking about some 20 minutes ago, I don't know how long ago Waas Ah, and they are breaking the main silhouette. They are really breaking the shape of the body and they're standing out and I will keep adding more of those and make them more more visible so you could really see how I'm breaking the means. The main. Sell it of the body and that's the key factor. You have to play with shapes. Shapes are what really? The identifies were not really the I the brain three, out through the eyes identify the first main shapes and those shapes really communicate so and like I don't want to repeat myself. But it's really important that you allow yourself to play with different shapes. And don't be afraid to fail and change stuff because you you you already saw it. I was trying something. It didn't work. I was going. I decided I'm going to for something simple in different, different Sorry. And here also will be still changing stuff. I will still I will still be removed removing some air, some of the things that really drew, because at the end, I will be like, Yeah, you know what? It was a good idea when I was, um, picturing in my mind and when I was growing in because it was doing it without all the elements. And now I I'm into rating. It was looking cool. But now that I'm adding elements around this stuff, I feel like it's not working anymore. I'm talking about this more The color area around the neck, the type of protection there or high color that he has around the neck. And for me, When I was growing it, Ah, some minutes ago, it was like, This is school bar you will simulator on. I will lend up removing that stuff because I I it wasn't fitting anymore. And again, what I'm saying you should allow yourself to to be able to fail and change stuff, but not really failed because you don't failed. You just, like, try things I don't want to use. The word failed because fail sounds like you are really missing up things and you are not. You're just trying things and you're allowing yourself toe to try things any and try to improve the your drawing. So, as you can see in images, have bean drawing the weapons of the Carter Ah was a sketching a little bit. Only the main shapes off, the off the rifle or the gun that I wanted to to have the card carrying on one of his hands . And also I was drawing, um, the strap across the chest. That's travel be will be fixing to the back or attaching to the back. Sorry. Ah, some sort off long knife, a machete or or a short sword at it. I don't know, but I don't know it very well. I think it will be more like a machete were like a long one. And the thing is, what I want for for the weapons there it was not to portray that Ah, very technologically advanced weapons. I know that in the beginning I was going more for the going was moving more more towards