How to draw in the "Walking Dead" style | Damien Barban | Skillshare
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How to draw in the "Walking Dead" style

teacher avatar Damien Barban

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.

      Introduction to the creative softwares

      8:07

    • 2.

      Faces, shadows and atmospheres

      8:55

    • 3.

      Faces, how to create strong effects with the ink

      5:24

    • 4.

      A face from profile

      9:12

    • 5.

      Another woman profile

      10:48

    • 6.

      Profile of a man

      11:22

    • 7.

      Profiles and emotions

      7:28

    • 8.

      More details in the emotions and grey values

      20:10

    • 9.

      Creation of a male character

      8:08

    • 10.

      Creation of a mal character, part 2

      11:37

    • 11.

      Creation of a mal character, part 3

      7:49

    • 12.

      Creation of a female character

      7:23

    • 13.

      Creation of a female character, part 2

      7:12

    • 14.

      Creation of a female character, part 3

      9:31

    • 15.

      Creation of scenery

      10:39

    • 16.

      Creation of a scenery, part 2

      5:48

    • 17.

      How to draw a zombie

      11:35

    • 18.

      How to draw a zombie, part 2

      6:47

    • 19.

      How to draw a zombie, part 3

      5:39

    • 20.

      how to draw the weapon M16

      12:26

    • 21.

      how to draw the weapon M16, part 2

      7:37

    • 22.

      Creation of a zombie, from a picture

      12:13

    • 23.

      Creation of a zombie, from a picture, part 2

      5:15

    • 24.

      The last chapter

      15:32

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About This Class

Would you like to draw like in the comicbook Walking Dead? This course is made for you ! I will teach you many tips and techniques to use your graphic tablet and computer creative softwares to create characters, frames and zombies ! 

If you are not using graphic tablet, this course could be followed with paper and pens. 

Start this course and learn very easy and fast techniques to draw like WalkingDead comics !

Meet Your Teacher

Level: Beginner

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Transcripts

1. Introduction to the creative softwares: welcome on the scores about how to drove like the working. It's time we're going here to do a short review of the software to create such drawings. You can use plenty of Softwares here. I'm giving the new example off. Keeps you paint. This is very similar to any kind off software's like food shop. Our creator are some others, and all the options were going to use here are very similar to every single software's. If you use keeps you paint or finish up, you will find layers, you will find brushes and we're going to review old this kind of stuff. And for this example for this course, we are going to look at the options of clips to do pains. So we're going Teoh local, different options and all that. On this course. I'm going to explain what kind of option could be used for what kicking off creation and how to make some drains and how to to pains to use do Greek colors. Because, of course, walking dead is I mean, the comic book working did is using Greek color and several shade of grace to create the pictures and some so handing to create a new project, Click on file New, and I'm going to create this first project with a for firmer with the resolution surrendered, which is enough, and I'm not going into all the details, but it's very similar to all the Softwares. So here I am. I have my white page and I have a first layer. Maybe it's different in all this after, but here we have a white page and we have automatically layer, which is named layer one. You can rename this layer that for this example, we will just stay like this. Every layer can be changed. Geldings capacity. Now if I come back to my white page, I can see that I can change several things and I condone draw on my leg, a one with my brush. This is a normal brush I can draw on and signal earlier and hide every layer with the eyes . Just that the left of the layer option, as you can see. And if I click on my lay one, I can do several things. I can hide the details. I can change the opacity. I can change here, I can destroy a layer, and that's it's this is the main option. We are not going into too much detail where just going into the main options that will be very useful, creative coming book. So Neiffer step will be to create a sketch with looking. So this course is not going also to learn you the basic of the drying. You can find this in other courses. I would, of course, give you some tips, but this is more focus on how to create a sketch, then how to ink your sketch and then how to create agree values of your join So it has to create something that is very similar to coming book working. So here's an example off a sketch, which is in the blue on the late one and on the layer to I'm giving you an example of thinking. Inking is it could be done with normal to like, not necessary on the on the computers of 12. It here for the simplicity of the example and giving you on this computer software example . So here is the third layer, called Leo Free. I put the option multiplying, which is in options that is giving you a new opacity change. You can see in transparency option with multiply so you can see we can easily create effect . We are expecting with old Barry's option, we are going to review all the course will be based on this re options to sketch the thinking and the great option. We can see also additional stuff like it keeps looping proposals on in the brushes, some hatching options. Let that would give you some additional stuff to make more detains. We can also use some three D characters we can add, but we're not going to go into this so much because it's not all the sifters and proposes such options. Ragging to reduce some option that can be have be, be useful for your creations here. I'm sure you knew some some stuff here that can be add to your drawings, especially when you are going to two creates nature buildings not necessary on Lee the characters here. I'm giving you an example where we put these special options off hatching. Ah, on one of the faith, one of the part of the face of the character. This is very similar to what is used in Bangor, Maine. Guys using such creation not only doing are using great stuff but using such hatching techniques. So this is very specific to Manchester use or this is the software was called Mengistu's Your Privacy. Now it is called Keep Studio Paint Way. We can speak about it, but it would not be the main subject of this course, so I can show you also how to use this option. Like like a brush. You can find similar things on further ship. If you are not used to such brushes, we can also speak about it. But this give you a first inside of the course way. We have a lot of things to speak about. We are going to see how to create a character, the profile, the character with the emotions, nature of the buildings, every principal things that are composing zoo coming, book, working it. We're going to see how to draw women's like refills on all the elements that the very important in the coming look. So let's start 2. Faces, shadows and atmospheres: Indies chapter. How to draw faces? We are going to review the techniques to Sketch Inc and complete the drawings. We're going to speak about drying techniques and basic rules to learn how to draw faces. While this is not a drink course in itself, and because you can find more complete courses about a general drawing, you can nevertheless learn some basic rules here that may help you. The first thing we're going to see is a constriction basic template with wish we can build up the drop off the face basic skitch that can help you. Then we will give to this sketch more detail aspect by using a brush that could be considered as the inking technique. We were finalized with using some shade of gray to get working their respect. It is possible that you could extend explanations about the drinks can. If so, you can send me a message with all the questions you may have. It will probably be interesting for you to get some additional advice is with more complete course, dedicated only to drink skim. I will think about doing it such, of course, let's start with this kitsch. I'm doing a normal face sketch with no more attitude of the period of the character. He's going to be in front of us. So I tried to designed something. She's neutral. It's not a man. It's not a girl, just a face with the construction things here, the constrictions line lines and I with the I the nose and mouth. These are very basic lines that only give me two places, general place of each element. In the years we are level the eyes and then burns who have your generous kitsch and that you are enough satisfied with it. You can already simulate where the hairs will be placed. The hairs will take this kind off area, and there will be the There will be the forehead just here, and you need to keep some space for it. Don't stick the hair with the eyes. It would be were to have a face that this completely scratch on and, uh, too small. Then I can give more details to my sketch instead the construction here and to make sure that the mouth here is not to be eagle too small and you can see that we can also in a kind of expression. And if we changed expression like if we open the mouth of the character, then we have to change a bit the size of the joke. These are old kind of details with two. Figure about, and we have to make sure to do notes, make too much mistakes and to keep the proportion of the face. So this give you a rapid overview off construction. Now destroy it, and I'm doing another sketch click on my signal layer and now and start to drop something. You I started you and I well, see that's in the comic book Working Dead. The eyes have a very specific design. It's between the realists and very special designed something which is very, very close to the American Comics book. Because it is an American comic book bits, it's not something very realistic, and this comic book aspect is very important because you are not just doing a copy of the photo. It's not photographic drink, Steinitz something which should have a very strong aspect. And we have to keep, uh, you can do very hard line like you're on the nose, the eyes you can draw on with a very ref style And to give this coming against me so you can see here little by little, how I'm drawing the part of the face and I'm heading some shadows at some places just below the mouth. I can add on, uh, Peter the hairs and I can't enforce some lines and and this is very important to to make sure that some lines are more stronger than others. But we were really this later. Then I can do another kitsch. We'll see something a bit different, but we're still speaking amounts, atmospheres and how to get this dark atmosphere. This example will be the face off. A person with wrong has and we will see step by step had to do the sketch and to complete the ink thinking of the character. So you have to trust your drinkability, drink skill. Then you place the general lines and then create a new later and you still to add black lines. So the line's off. This of the walking dead style are very I'm not very different. The one from the others. You can see that I am doing very rapidly. It's a major lines. And then that would be able to feel some part of the dream with a full black. And then I will finish with some details that will come back with some detail white days. I can select with the sedition tool, the main areas they want to see in black. And I musings, Phil, option that you can find in every computer Softwares. Okay, so now there are some details, like the shadows just close to the I the nose and a bit of the nails that will be very often used in this coming bouquet. So you can see some some interesting things is the balance between white and black. This is the main point in working Dead Z's balance, their important film, the atmosphere, and to get very strong aspect off, uh, Duck comic book or Dacula situation. 3. Faces, how to create strong effects with the ink: All right, let's go. For the first part of this course, we are going to see how to draw a face. This is sometimes the more basic things that's he's I needed to know to start a comic book , how we will draw a face. So the particular to this face is that we are going to, uh, to get this working that style in this joint. So I'm going to drew a rectangle, and I would start to create some details off this drains are going to show you some very simple step. You can new at home while looking at this video, and you can do step by step to get something very similar to this working that state. So this face we're going to draw is a woman, and you can see how I'm drawing every parts. ICTs this rectangle represent the frame. We can estimate that every every drinks has to be, uh, do you have to consider that you are going to draw frames in this framed represents what you reader is going to see in his coming book. So you you have to be very careful that the composition off your frame is correct. the composition is composed off the drawing insight, correct place of the character and very many details that needs to be for which you have to be very careful. We have a special style also to respect, because even if you have your own style as a cartoonist, you have to careful. Be careful off how to make something very similar to working this time. For instance, we have the high. Even if this is a girl, the eyes are going to be very dark on the around it. I and all the details around the eyes are going to be very dark. We would have to add some shadows we can see in the first place. That's these shadows are put in the random state. But there is a new explanation for every shadows and every elements have some explanation. Like this mouth. We can see that we can add details under on the shadows in the we are going to see how toe place every shadows. So the shadows full off black ink and they're covering very good part of the face. You can see that the shadows are mean to really be part of the design and the lower part of the face is going to be very strong and you will have to decide where the light comes from and where's the shadow comes from. If there is the night in front of the face, you will have to place some shadows at some part of the face. This is very important because if you put too much white on too much black, it will kill your frustration. You have to be very careful where you put some black ink and white and have the cane of food to be very balance on. How you use thesis is techniques you can see love for, like it's very similar to a nice tonight. Sorry if I'm drawing, and I am not going to do like this with the very long parts here, with a very beautiful eyes, like we could drove on the normal artistic stain. We're much more going to be like in a very rough style, like you can do on this sick and I This working. That's time is between Noma drawing Stein and sketch design, so you can be very rough on how you are going to draw. Even if this is still your control. It's not something you do on the like. If you was doing a very rough and not very careful on the details you want to do, it's something you have to be precise. This is something you are doing with your control. 4. A face from profile: in this chapter, we're going to review how to draw a profile face. This is a very busy exercise that you can do with your own paper arm Software, own tablets. You can just start with this simple exercise. When you drove the first round like this and you had this parts, we can separate the faced with two part this round thing and the second part below round. Then there is the here and we have construction lines to place the I that has to be put at this distance from the right side and we put the nose. Then we have to put the mouth and then we can change a little bit dimension of the face and readjust some details. The four hands like this and even the here can be probably change and put a little bit far , then knows you can check the different distance point like to hear from the nose to hear from the I more important is to get something which is really not to have a caricature off a human face. Once we're done with this sketch, we can continue with additional detains and you will see that we are going to use as usual the layers one layer for the sketch, one layer fondue like ink and one layer for the shades of gray. Then I start to draw with the black ink on my signal. In there, I tried to make sure that all the lines have very similar thickness. Don't try to make the fitness different from one line to another. So working that star is using same lines is not going into too much change in the thickness . Then I enjoyed the I and inside I with a black point. And then they can start to drop the hairs with sketches, a dimension to no viral dimension of the other hairs. And we were going to dictate a little bit later, thunder here. We used to have a lot of details into the here. If you look at your own comic book working that you will see that artist is during some DJs in some parts of the of, the characters in some other parts have much less detains. So we continue to draw the lines and at some details here, you know, we go, we have no very interesting beer that we can I feel with that corner. We will not necessarily stay with the full black color, but we can later at some white details. And I'm using the seduction tool to rapidly sect all the here or zoom. Sorry, held the hair and I add some details for the hairs like this. Then the eyes, especially when you see the character from the side. You have to drove something similar to this and you can add this with sickness. She's quite important and then you can add the details behind the high and some lines. That would just one first a little bit The fact that this is a man, but not too much to takes. You see, I make the layer we do sketch invisible and I can see on the the ink parts This is good to switch between the ink and skitch and see what is me seeing what you can add. What details you can the race. This is a rash. You off de tastes you miss not overwhelm your administration with many details which will take you a lot of time and are not necessary. Interesting for understanding of action so we can speak. We will speak about it regularly in this course about what Canada detail, we can add what is vital, what is not fighting and what we can avoid. Some details are not useful for the understanding of the reader. Reader was going to take your commingled, needs enough information to understand the story, but don't needs especially something. She's too much details, especially if you have plenty off pages to draw. Somehow I have created another layer, certainly, and I'm heading two shades of gray. So we have some you can put some great, just the evil of the I on the neck. In fact, where the light is not touching character, so you can see with this example some common part of the face that is usually nuts exposed to the night. So you have also to find a way to add some gray without putting too much gray on the character. You have to do something, which is, um, Russian didn't have to put old days and gray and too much gray, and you have to leave enough white color but not too much. This is something that we will learn how to do all along this course, and we can also use lights of great to have at least two different values. So this is important to see how you can play with Where do you put the gray and what kind of gray you will use in the comic book working that you will see that there is several values of great you can as and you can also sometimes use a special tool in your computers of two, and it will hello, you two to smooth degree and they'd already stooling tips to your paint is called Smooth Water Cooler. It's not every time, but you can sometime use it. All right, this is enough for this chapter. Let's see the other one. 5. Another woman profile: we will continue here with a profile off characters. This time we're going to drill the profile off the woman. This is quite similar to the profile off men. What we I just did in the last chapter that this time would add some longhairs. And there are some details we have to be careful off. So we start with a sketch on the layer as usual and we put the construction line for the I for the nose for the mouth and the usual exist size we have to do. It would not be a full profile character. We will see a little bit off to face is the face two sides of the face. Then I image intelligent on signal earlier with the gray not sorry with black creation. So I decrease the opacity off my first layer and I immediately work on the black color of the inking. And I continue to draw something very similar to what we did in the last chapter with ah thickness fitness of the lines which is very normal, which is not much changing. We can find some changes If we see in detail we free zoom in the illustration. We can see some details. We are not trained to do something very perfect. In a drawer knows. Be careful of the hole in the nose. You must nuts put too much black in this area. The lies it will be like the nose off peak or something like this. So be careful to do not detail too much. Denounce, especially for women, faces not too misty tapes, the same for the eyes. And seek your free how I'm drawing the eyes and not going into much details. But at the same time, I have to add enough ah lines to make sure the eyes is correctly done. So you can see two type of eyes. 1st 1 these days with the many things inside it, and the 2nd 1 is more what we're doing right now. We do a black round and we just had a light around inside. I'm also adding a bill part of the the I, which is less detail than do a part of. She's just a move and we start drained additional stuff like this exactly with the same thickness than when I drove male face. You can see the difference with the face off a woman and often men. The difference is really in the eye in the form of do head form is very much more smooth, and we have to be careful to do nuts. Make too much details, which cooled. Let think that the woman is a man are the rivers you have to enforce difference with all the details where working in this video and in the produce one. So you continue to progress in your thinking, step by step, making sure that's why you are finishing apart with the ink. You look at the global aspect of your drawing and you see if everything's okay. If there is a mistake, you have to change it immediately. Don't let a mistake in Europe drawing. Otherwise, you'll probably forget to change it later, and this will be a bit more complex to go back on drawing where she's done, which is completed. But you see there is something to change. But if you change, it will have to change all the details and so on, so issue to progress that basted, even if it takes some time at the beginning, for instance, here I'm doing again. The lower part of the head and to change the orientation of this line. And once this is done, the face will be much more. And Christine, you see, it's not perfect. But we are not looking for perfection. We're looking for something efficient to draw rapidly and efficiently and they can hairs. And we would work their hands in the same way than the other character. Do not use plenty on little lines on and little things thinking that the hairs are plenty of little hairs. We are work drying their hands like it like if it was, guest puts on the head of the character something which could be sorry. You see, this is a plane form. This is not drove. Like if it was just a collection of plenty little, uh, has you see, I'm doing using the seduction tool to select overall from even if I'm playing with the light to do something like this, I feel and we have something starting their interesting and we complete the black color and you see the face appears, little buddy, and you can drill with this example again and again. You will find the final draw drawings in this course you can download A. Pdf, which she's summary of all the illustration created older than the score, so you can use it to to drill yourself on it. So now another's layer certainly, and we add zoo shades of gray again. We put some great in the area of the eyes here, and you will see it will probably is this. Something aren't to determine where we have to stop if we have to continue to put some some gray. Because even if we are playing with the lights of the environment where your character is having adventures, it's nuts even sometime. It's not very easy to correctly put the the grace. You will see that here, and I'm going to be a bit confused and would not necessary. Give something good, so we have to erase some great parts. I don't think it's correct. I have to change something. Try to reduce the capacity of this layer to see if the grace not too much aggressive and here I decide to be raised. Great. Because it's 200 sheets. It's use this even here. Sometimes you make something good sometimes nonsense, so you have to change in two. You can keep something like this, but ah, if you don't feel it erased and do something more simple, the rule you can foe is when it seems too much complex. Make something simple. If it's more simple to do, just, ah, gray area. Agree Hera area here. Then do it. Don't fall into the complexities off too much shadows. Nothing of shadows make something which is which makes sense to you. And we that will make sense also for zoom lights and environment. Okay, you see such example really enough from the shadows we put in the face and then we complete with shadows and on the hair and vota. It's, um, another example off how you can drew working the style character. 6. Profile of a man: here is another example off what we can do with this technique. This time we will do, Ah, the men character over. And then we'll see small difference how we will drove this character compared to the previous listen, where we true a woman. Then we start with the constrictions lines. The hand we see momentum is a profile of men. And I drove the sketch with eyes, nose, the hairs, the here and basically this is the same rules than a normal drove. There is nothing special to it. When I drove, I decide toe approximately two wets. What kind of what level of detail that want to go with this kitsch. If I'm enough comfortable with dis liberal sketch can directly do the ink. Ah, but otherwise, if I'm not sure of the lines and if I want to add more details to make sure that my thinking is not is not going to be problem. And he said to add more and more details and still I feel comfortable. Okay, Now I have created another layer and a starts to add the black ink like the previews. Listen, the thickness of the lines should be quite the same for all the character. The thickness could be different from the inside the character and outside the character. The lines around the character can be a little bit more strong thunder ones inside the character. So here is an example. Often I doing a zoom of the wet of what I'm going to do for the I, and I'm completing details of my character with the inking that do that Onley when you feel very comfortable with the with your own drinks killed. If you need more exercises on drawing, don't be shy to work on enjoying man and women even more. Two students I usually advice to draw at least 10 minutes every day on various sketches. If someone doesn't have a lot of time to draw because there is life and life could be very can make you very busy. Sometime you can at least draw on the corner off a paper somewhere rapidly during some sketches for 10 minutes, tried to observe something. When you take the bus, observe someone sitting nearby, you and you try to drew, and the you can have a daily exist size. When you do something, even if it's 10 minutes a day. It's it's better than nothing and spend several months without drawing anything. Then you don't understand why you dont improving your drawings que. But this is really what time suggest to people who want to improve their skills. The main points in improving your own style or on drink skill is to to draw its it. The quantity quantity is the first point. Then, with a quantity comes the quality and the techniques I'm teaching. You hear some techniques, but you have to draw again and again and again. It's really a question off quantity. So you can see with this Stickney here. I'm now getting zoo blue layer with the schedule you invisible to just have the in King Lear to appear. And we have the character becoming really in. Not much is not looking looking like just we're character without hairs. And so now we can see this is a really character you can see this is a man we can see. He has a long hairs. Then on the third layer on doing, uh, a color with the gradient color from great whites. And I'm putting this on the face just where the first first call first great color on we shed wheel. Add some additional great values. Then I had some lights on the beer, but they can and they can mix several greed values. And you will see with this example how I work on different values to create this comic book effect. I probably already said it, but I'm not trained to do an exact copy of Of the, uh, working that state and trained to teach a kind of technique that could be used could be similar. But even if you if you if you get used to work on the graphic habitual for a re have some different techniques than what thing showing you here, but it can give you an example, just give you If it's not teaching you something, you just give you in another viewpoints about how you can create this time. If you are really, really learning from scratch, how to create this characters in this style working this time, Then you can try this technique, but you can also try all the techniques you can find them off the courses. There is not one good techniques. Every techniques are very good. Sonoran Person's point is if yes or no, you gets your illustration than as you wanted to created. Okay, then you change to value and you can play with the opacity full. This line, which could represent kind off lights reflecting on the hairs. This is a graphic effect. You are not. You can work sometime something. He doesn't make it a great effect, but this time could work, so you can see I'm not putting too much. Today's even on the gray values I trained to add some different graze at some fine, but don't lose yourself in mixing too much values of great use something like true free for Gray's maximum. Otherwise, it will be re nut. We will not lose Zoom. Very simple aspect of this coming. You can see him that they have the great with the lower capacity that is doing such effect . It's not. It could be used but necessary. Good, because you can make the mistake of having several kind of values in say, it's better to have only 23 or four different grace, not too much. Then I'm adding the grays. These great value run the I, and this is a graphic effect that can at some emotion on the character. Increase the feeling that he's afraid of something, you know, some dark that he was around the eyes. Then you can see if you can add something else. If you have plenty off coming back frames to create, don't go into too much detail because you will not have enough time or probably you got enough time. But if you have 1000 are hundreds of frames to draw, you will see that more efficient technique will also be the one that will take you less time. So don't focus too much on the frame completely one you're walking on and then go to the next one. If you have some time remaining, then you can go back on the work you did and complete with food states that could be missing that at one point you have to decide. OK, that's it for this frame. I go to the other one. Then don't forget to save your work 7. Profiles and emotions: we can see another example off character from his profile. But this time we will focus on in emotion in the committee book working that we will see that characters have plenty of emotions. We are not in a coming book like Superman or other heroes who are just always confidence in their himself and not having much fear there. We have normal people confronted. Two very serious situation. They're angry. They're afraid that plaintiff emotions, these emotions off really parts off the comic book and of the story. So this is very important to draw perfectly the emotions you will see here, a character that will have some fear in his eyes without expression, expressing too much the emotion. We must not fall into the caricature. We have to focus on enough details into face to to make emotion, concrete them something that's something that is going to merchant the fear too much in do expressions. So here you will see that I added just a few details, the eyes enough open to make understand that's easy for cues on something in front of him. Then the mouth will be open a little bit, not widely open. That could be a makings expression off someone's criminal, which isn't the case here to emotion. I want to show here is just someone who is accused on something and is about to be scared. He's not yet scared, but there is something that would appear in front of him, and he's already in that emotion. So this is very sensitive to draw because you have to be between two emotions and you really have to be precise into the lion's you wandering it would depend on the of the I homage, the eyes open and you will see that it's very small details. But these details are very important. The lines above that I and how I'm feeling with small lines in just this lines just the eyes with with how it is open and how the inside of the eye is drove. Just that is enough to create solution. As an exercise, you can take your paper, secure graphic tablets and try again to draw this specific character. So I'm completing the hairs. The air's much less important to to express the emotions, but he could be part of it, but he is very single very elements to really express the emotions. We have to focus on the eyes, the mouth and older detail to face itself. Then I ask, he didn't skits, Mayor. You see that it take less than four minutes to drove this character. So he'd give you also that this is really possible to drew an efficient character with a few lines. And in a few minutes again, we're speaking about drain as much as possible with the highest quality as possible. Then you can have also the problem off having the good graphic tablets. Then I'm using a welcome 13. But you can also use other other stuff with some really feel comfortable. We do senti Qualcomm. She's very good as you have the feeling to draw on your own screen, but with other tablet, you consign the same feeling, so you contest only where you can find it, right. Graphic. Doubly for you is to test several tablets. Don't be stuck on only one tablets if you don't feel comfortable. If you have some trouble to be precise changed just other tablets, even other. There is not only working that's producing graphic tablets. You can try over tablets, so now I'm endings. Shadows. You will see that the places where I'm putting the shadows very strategy, uh, you can see stealing the eyes. We she's enforcing this, I d. That his emotion is negative and also near the I built the head on the neck, and this is very important to play on this balance white and agree. Giving you something of these powerful on your character on the emotion of your character is very important to us. This balance between the different kind of grace in the airs, amusing, very duck and great. And then you have to say, OK, that's it. I continue. I add more gray on nuts. But if you add some great values and you see that it's too much, it's not necessary. Okay, let's keep it in. You raise what? He is not necessary. You see, I also added some white lines. He seems to be like I was not done completely with the work. But in fact, it's It's an imperfection that is giving something very came off written off the character . It can be something making the character very life. Not we all geometrical gray object under face. Your character is a life. It hasn't so you have some lines that are not perfect in cities. Exactly what you try to put even in the black lines are on the gray parts. 8. More details in the emotions and grey values: We're going to see here the emotions we can onto the characters. So we have to drove first sketch with women. We have ahead and before to draw this woman. I wish we will add some emotion. We'll do first exact size we drew for neutral characters. Each of them have two eyes, and we will see how we can easily on emotions. For instance, these lines are the same, but we change their orientations. You can see that this is very easy to change emotions and to to create something very different with seminal figures. So you can see this is very, very This is a drafter, really small drafts off, emotion high. We can use them Now we can apply this principle on a more complex illustrations. We will do, Ah, sketch off a woman, as I said, and we'll do were used. The emotion will add an emotion in this character. I'm doing the shoulder the hairs, and I'm doing a very rapid rough off and then would add some construction lines. If you feel familiar with the construction lines, don't spend too much time or needs. And just at all the details we can see here you can do this exercise state by state by clicking on stuff and playing it playing again when you're going to continue the video so you can see that I have the the eyes will I have wide open eyes and the globe inside the ice will be in a certain position. That's, for instance, will not touch do upper side or downside of the I, which creates the emotion of surprise. She's worry interest surprised. This is between these two emotions and is it difference between emotion can be on very, very smart detains. She will also have the mouth that will be open a little bit, which will increase this feeling off surprise feeling. We add some details of these kitsch and also start to put some shadows. And I hear is this work again? It was not well placed. If it's too far from the IIF, it's nuts really enough. You have to do it again if you are not just to draw character. My advice is to work with a picture really photograph in front of you with He's a similar face you want to draw because if you are, have some difficulties, too, to draw people. We have first to exist yourself, enjoying real humans, no matter if they are really like. If you do a sketch of someone sitting in this when you're taking going out or if you are taking a picture taking a beach off someone and after, that's you, try to draw this picture. But if you take the reality as a modern, there's futures. You get some mistake of proportion. You can have mistake of proportion when you take as a mother, the drove someone else because every cartoonist are themselves doing trying to time some mistakes. So if you could be the draw of someone else, you will also competed their their mistakes. So it's not to learn how to draw. It's nuts necessary Best thing to do but you can could be like we are doing here, the stain working that Stein So the sketches if it's finished. So we are doing the thinking. If you are using normal tool and number tools and nuts graphic tablets, you can use China Inc to have a very strong dark ah back I'm during the air's will thin lines going in the direction to natural direction of the heirs. You can increase the capacity of Europe layer with your sketch, as we did in the previous chapters, and then you can add some additional details with your with the inking. This is what will give the characters of final aspect, and we'll get to the emotions we won't create all or what we want to give this emotion. Be sure that's it. Thinking is not decreasing the power of emotion you succeed to create with with this catch . If you feel that the sketch is more powerful than thinking, you have to correct something. Yeah, rapidly, because it could happen that the thinking is not very well done, and the emotion is hidden behind technical mistakes. I try here to show you how we can in the best, but of course I'm not the best illustrator of the world, so you can also take advices from other artists. But it gives you hear they re first and easy technique, and you can see step by step, how I'm working in the registration and how I'm putting the details from one time and working on the left of the illustration. Another time, the right from it up to down the registration you can see how the eyes up filled with black change, anyone nuts, doing all the details of the island. Just doing what we see here lying on the top. But some things that I and when you zoom out, you have to check if the eyes are correct. And if you're not having the lines black lines off a night, which could be more strong, stronger than the other eyes. Even if it's not balance, you have the problem, so you have to zoom out the ins and outs and to correct every time. If there is something that he's not correct to see that there is a mystic, you don't have to be a very that professional illustrator, any kind off. People can see that the eyes can see automatically when there is a profession mistake. So be confident in Europe's kill off. Observing. This is really matter of observation. Observe. If something is not making sense to you. If you have, for instance, um, left arm that is smaller than the right, you will see it, and it depends to you to correct this because otherwise this is a really off you're coming . That will say, Oh, there is a problem. You drove his character ladies and doesn't make sense. The eyes of very it is very strong to see the mistakes when you do proportion. Mistakes are if there is something that is anaesthetic so official to correct on this. And the more importance, as I said previously in other video, is not to have a perfect illustration because where the perfect illustration doesn't mean really anything, you have to create administration that will communicate what he has to communicate. We have here a woman. Was it fear? And it must just going to keep this. If there is a night bigger than the other one, it will be a mistake that we hide the communication you want to create with this illustration because people will see the frustration will not beef accused under the communication That will be for cues on the mistake and visual mistake. And you can hide the sketch failure and complete with the detains that are missing, and by hiding the Sketchley over, I can see that there is some details that are not fitting. I have the eyes on the right side of the frustration that is is a bit weird and I can already some things and read of them again. I can I can. I can add some shadows piece bag p. But you see its mistakes is I try toe put shadows near the nose, but it was makings character more older with it's supposed to be a young, not that old guns away. Be sure that if you act too much detail, you can also take the risk tohave character being old. And it's not what who you want to get, so you can see that we are learning learning here. It's not a perfect technique. It will required some skills in some exact status as any kind of art, but it show you how it could be created and show you a way how it could be created. You can have here the creation of an illustration that he's done step by step, and I'm not jumping from the step to another one. Me seeing some things to show you. It's really created here, and I'm just showing from a to B how to create it. So now I have created and notice another layer which will be used for the great values and and doing the seduction to that you could find in foot of shelf, create our creative Softwares, and I'm trying to say outside part of the character and then a revert selection, so has it can only have the character selected. Then I'm using gradient from great white and this will This will be my first and we feel step falls. Ooh, great values. This first general graver uses giving ah kind of atmosphere first round of the atmosphere. Then I can add some random half off brush and then I can play with wide killer. I agree. Greek are on the hair's different values. Something that goes more on the white. Don't take a very full light at simple 100% white the way it would be by retirement strong . I'm playing or so with great values to show that here we have the heirs that are green be young, this head and this created can off shadow. So you have to understand also this particularity that the head is something around. You have airs around and you have some kind of, uh, shadows and the heirs of playing with the light in the shadows. I am using a very 100 person white to just increase a little bit. At some part, the air's so has you can have a very interesting balance between duck values into clear values. And then I'm heading the shadows on the face. You have also to make sure do not had too much to litter shadows of the white. It would be a mistake to, because if you are the shadows wagon not supposed to have one you I would say, OK, I have a mistake here and I don't invest in This is a style. If it's not necessary following the rules of having spotlights at one point of your illustration, you are playing with that. Of course, you can say that on the rights of the character we have source of flights. But you can also add some shadows just to create in intact to create an effects and to improved the emotion global emotion of your illustration training to use a tool here that he's called smooth sweater car. But I'm not satisfied with this, too, because it's so close to make the crop more smoke, but it make the character not very clean. Our, like she founded Med something sweet. It's not what I will do. I will correct this Control Z. If you want to courageous or you can pick up could her the previous color and correct this and even behind knows the grace, not green, is making a very good effects. We can. You raised this one. Part of the exercise is also to test something. You can try it. Just try. Look, if it's efficient or if it's not making something good, you have to acquire your certainties, your uncertainties on how you will use these tools and this is by experimentation. You experiment your own your own feeling on her. I draw this. I drove that, and this is with this. Experimentation will find efficient things are inefficient things, and this is how you create your own experience and you improve yourself. Cartoonists. The mouse is always something that is our to do because you have many kind of values in. You have to be careful to doughnut at too much light, and I don't have too much dark color. You can see I tried to play with some little light and little shadows, so we are almost done. You can see that in less than 20 minutes. Created Interest administration. Try again to smell Feli, Libbets the Grey with another tool that's called transparent. What could and I can at some light values of grey. With this, it works OK, so keep this, and I can add very smooth shadows here, too, to continue to create the face so you can keep working on your illustration on and on. You know again, as I said in the previous video, you can also take the decision to stop, especially if you have plenty dozens or hundreds frames to draw. So at one point you have to decide. Okay, that's it. I'm not going on on this illustration. I stopped its fine. It works. It's efficient. So that's it's all right. So you can try also with these tools, and you can try this technique and asked me question. If you have a with cancer, no problem 9. Creation of a male character: Here is another video where we are going to see another sketch in as a technique to create the characters. So we're still in the same software bits and said previously used any software he wants. If you have this concept off layers and tools and brushes, you can create the same Then what I'm showing you here. Okay, so I'm drying my construction lines that separate main character in two parts, which is very important to make sure that we have right side in the left side, very smell and build a character from them. It's a technique that you should already know. If you have some experience in drawing this, it's better for me to show a video from the beginning, full beginning to make sure you don't keep any mystic. If you originally this technique, you can just keep in, go forward in the video and just Jake, what is interesting. You, but on the way for the view from the beginning and see all the part of the video. Okay, so I reduce a little bit my character, because it was weighing out white paper. I try to have at least seven time is, uh, size of the head to make sure that I have the correct proportion. This is a normal rule that you can find in any kind of drink. Course very basic. During course you can find it. So you have a character. You have the need at this part around here hard here. The end and off distance off offs are part time do of the leg here, and this part is located here. The shoulders here and you can see that you don't. If the character is moving in time, you will also have to move it regarding the proportions we have here. Otherwise, if you make some mistake, you will see that your character we are very long arms and it will be very strong Strange when you will look at your registration. So make sure that you have always proportion. We're not going to too much detail reeling profession. But we can have can have some drink courses online or YouTube in again if platform that you can find easy this technique somewhere. So what is important here? Is it working that technique? So now I'm creating a second layer again. It's always the same things. A sketch, then another layer with the inking and I'm taking my I been and I can decide also to to draw additional details. I'm not going straight in the thinking because with such cage that is very soft. We don't have anything, you know. We don't know if it's a woman or men, so we have to work a little bit on this signature about the details of the character. So this is an example, step by step, how I'm drawing a character that is, uh, human, that is just having human characteristics. So you get this video carefully and which every part off course you can exist as yourself by during every step on the paper on graphic tablets. What I recommend is that you push oppose when you when you see a first step, you draw it. The new put play and make sure to the own have such a character with the caricature started when going to stay in the working. That style wishes very smooth lines and not like Superman's dying with people. Men reserve full of missiles and women, the perfect women with perfect body. So we're just drawing normal humans. This is what is a characteristic of this working that the comic book is that's the story is just normal humans in the world. So check the distance between every part I'm drawing like between the eyes between nose, mouth and lines of the head and you will see how I'm during the eyes. I'm not doing all the detainment. Just what is necessary to understand this is our eyes. Then I continue with the rest of the money. What is important here is the simplicity of the of the lines. I'm just being very simple nights a position, the lines with sketch there is behind that. You have also something Forget what you see behind to focus on the line you see on you draw on your character because you're your sketch is very full off geometrical forms and you have to get treated. Jimmy German took all forms because otherwise your character, we looks like robots. So you have to see your sketch in front than think with human lines. - Okay , then you will see that it's we are not going into much more detail is all the important details will be done with the inking. So you're just placing more important details to give the character of a very good existence. Now we know what is going on on this character. We know it's a man, you know. It's he has dress like these. He has this kind of heirs. He has boots and so on. So we finished this sketch and then we will see the ink. 10. Creation of a mal character, part 2: Now we have the layer three that is going to be the in king layer. As in previous chapters, we will do the same drill, which is thinking the the character. So I decreased capacity of my layer two and I'm drying on Layer three. This is another example off how we have to use the inking. You will see that I'm going to use a never age size for my brush and not going to have very strong lines and small lines. Fitness of the line would be almost always the same. You can see that I am doing the in king grease a certain speed. If you need to take more time, it's OK because it's just happy. Tough doing the work. Uh, especially if you're using really China Inc. You would probably have to be really more careful because with the traditional stuff, you can do control Z goods that produced it. When you are doing, please that China and you, if you do a mistakes, usually this mistake is dressed when you were doing your registration because you're restriction will be effective. So stay on the on being very careful and make sure that old all the lines. You are thinking of the current ones. Otherwise, if you're working on the software, you can use control Z several times. If you are on foot a ship, you have to push control out Z and you push Silver times E to go back on the steps you have done. And you could back Silver State before behind, too. You can go back at several steep. So are the ways you can use him, controls the one time and then use different tools you have on the left side to correct. You can have many tips to correct your registration so you can just observe in this, uh, in this video during several minutes How am doing the thinking? I'm going pretty fast because I don't want to waste too much time in going into de days inns and just showing that how can be the re, uh, precise and what I'm doing? Good. What? What? I just want you to show it the global work. And of course, you can be much more professionally than what I'm doing here. And you can use your own style and your own techniques to do the thinking. So let's see how I'm doing in King drinks and next few minutes and we will see in the next chapter uh, additional steps which will be black shadows. We can act, is it buddy? Drain here. And also the great veg is now. We're done with main lines of thinking. I can zoom in on several parts, especially on this leg, that I can correct. Okay, that's better. When you zoom out, you can have a broad view of your character and correct what is not necessary. Good. And then you can zoom in and work on every additional details. Want to correct? Then the night will come from here. So we have a shadow on the other side here. Then I can and some shadows on the Clovis, so we'll see how I'm adding these shadows. It's it's quite same than on the previous chapters is another example. So let's check this and then I'm finishing the thinking of the character with the boots. Remember when we did this kitsch and the inking the first part of the thinking it was another vegetate. Now you are feeling in the boots with black car. You can do some kind of detail with how wondering with some stuff like this and it would be really enough to give to you the boots. It kind of takes toe. And then we continue to work like this to complete in King, and it should be fine for that state. 11. Creation of a mal character, part 3: Let's do now the great values. You will see that technically the same than the previous chapters, we create a new layer and we add the revalues. This is another example off how we can use this very simple tool off adding some kind of different values. So the technique here is to go on the layer with the ink and to make sure that there is new hold in in do the limitation of the character because we will use the selection tool we would seduction character. And then we will go back on the great a year to add. So I'm selecting outside the character. I can see that everything is selected, accepted the character. Then I revert the selection. You have the singing full of shit. Were you paying? But you have the same financial then this is only the character that he selected. I go on the leave for which is my layoff, the river use and I just feel with a great color. Then, as my layer is a normal mode, I really have to changed his. But before I can do a great Ian from tough to down. Oh are like this just to have a kind of general light source we have on the left of the picture dark side of the character. So I put my lay off four ins and multi plane mode. We she's giving transparency aspect from that base. I can work on additional values. I can take my pen and skins and ends and outs. I can work on the opacity of the layer itself can create a new layer to work on the details . That can is another technique that if you have later with the graveyard regional role, great value, then I create another year was opacity at 50 and I can add additional details. If you see if you put some white on this layer and they with this layer and multi play murder, it will erased white so you can only play with dark. Ah, values can see the i d behind the fact that we can create another layer for the great values. It's that we can add additional gray details and then we can change the value for all these details in a row. You see, I can add plenty of details, blend into shadows and then it can change. Once the opacity of this layer and change the capacity for all these details. So I'm heading all these shadows you can see. You can take example of how I'm blessing the shadows, even if the light sources super to be on the right. I'm putting some shadows on the right of the character. It's just because it's it's fun. It's not necessary. Logical, but it's fun end. I think it's well done here, so I'm not going to change it. It's It's not necessary. Needed to be physical year corrects You have to present it to. The more important it is to have an illustration that is, he's giving you some fun. So I'm changing for the hairs. You can see how I'm working on the hairs and general little stuff like this hairs I can at some white color to give the light of theirs, and I can continue to add all the great values so the values will be added in a different way on the clauses than on the face you can just see here home. I'm working on this how I'm placing the grace and how on working on do closes for with these gray values, I can also work on with straight technique. This selection toe set all this close and I fit. This is a very rapid technique. But as this layer is sealed with capacity decreased compared to the later four, we still are the kind of gradual below this layer. So it does give you very interesting aspect. Then I continue to to draw on night character with different kind of grace and you continue exists until you're done with with this step. Once again, I repeat myself. But this is very important. Don't lose yourself into much detail or trying to reached perfection. It's nuts what we're looking for. You can see. We can see here the infancy of things that could be changed, which we're not going to work on. One single registration. We want to, uh, have a fast technique to draw all the 100 off comic book frames we have to draw. So we are looking for efficiency first 12. Creation of a female character: Okay, let's start for a new creation. This time we will draw women. The technique is quite similar to what we just seen on the prettiest Sitges chapters, and I'm giving you some other examples. This course is relief. Accused on giving you plenty of examples. Every examples is teaching you a kind of new techniques are at least it repeats. Is it in for you do tools, the stuff, the tips you can get to create easily your characters. So here I'm using the same technique to create buddies with seven times ahead. Names of the head, knees length. I can see the knee. The right knee was not correctly positions and OK, the problem we have here is the sketch will not fit exactly to the character. We have a problem that you can have while drying character. We will see how he can handle this problem, so we start with the normalised kitsch. There is nothing unusual and just make sure that's we have a woman and you can see that we can already draw some curved on the bodies that were stopped to create woman effect. Man will be having the hair, the hands and the arms like this in the direction from the outside of the body and the women. We have arms more inside the body, so there will be quite some difference again. This is more. And then that's a me issue. So we can you can find more information in there. It's where if you have some, if you're falling and it to me drink course that I give you some tips here that can avoid some trouble. The main problem my drawing woman is too have some lines that make him make her. She looks like a man. It would recreate channels to you. So I'm draining. Let's catch for the head and then I can use a signature to drove the details of this kitsch . So now I decrease that that still may 1st layer and enjoying with John Blue color detains. This is very important if you are not sure how to think your character. So this is a in between step uh, when you're done with your first catch and if your sketches not enough detained, so you can use the second step before to think so . I'm drawing character like this, and this is again a style which is not too much. Going into the comic book a speck, you will see that the woman is a normal woman. It's not a superwoman. And then you will see difference between the real character we are drawing here, and Skitch will be. Start here. We have real difference. We have the shoulders. You can see the little does. Let's large then what we expected why we're doing that sketch so it will have an impact on the rests off your drawing. Eso you really have to focus on on a wet track doing right now, not training to fit to the sketch. She's on the layer one because it will really be you would create a character that would be very weird, have some miss proportions. So this is also difficulty can have while doing this detailed character. This is really this example is very interesting because it give you some mistake. You must be careful off, and you have to avoid because he could really have been while drying your pages. So to make sure that I'm not too much into a problem, I'm decreasing again. Opacity off my layer one and I continue to work on my layer to and we can see that the difference is still appearing. But I don't care at this point, so I continue to draw me. My character was normal proportion. I continue to the head of this character, the body of your character. We depend on the size of your head thieves, and as a certain dimension you would have to constrict to build up your the body of your character. According to the head notes. According to the sketch, there is behind because if just get she's not fitting anymore. So forget about it. You can see now I erases the radio on and I only have visible my my sketch, a detailed sketch from the layer to where she is now ready to be Inc. 13. Creation of a female character, part 2: all right. Now we continue with the second step. We have three layers and the 3rd 1 is the one we are going to use for the greater use. So the signal one, we decrease the opacity and we do like for the others, the chapters we do inking. I'm sorry. Yes, this certainly it would be for the thinking and then for there would be created for the grays. So now we are working in this certainly year and we draw the lines we can see here. What is very important is to drove straight lines. We're not going to drew like if wear doing your kind of skitch with some hesitations, he has to train yourself to draw. There is traits lines you can see with some experience would get this habit too. And this and to be confidence in drink or reclines to the point. Yes, you can work in this to the point where the first lines a good one. If you do a mistake on the computer, it's not a problem. You push control Z and you go back to the previous step. But this could be a different story. If you work with a classic China in kind of paper. So this is part of the of the work to train yourself again and again. The basics of size I can advise to you if you want to draw on normal with normal tools like China Inc is to two drove into being again and again and again. This is always I'm repeating myself. It's better to repeat many time the same advice than to give you 1000 of details and the little little tips. It's less easy toe memorize so you can see that I am now joining all these lines and I continue for all the character you can see here that I'm doing some heading some more details on the hand. That's not their much because I'm not interesting here to show you how to draw a perfect hand. I'm just heading some fingers to the hand directly on with the inking techniques. You can work like this if you have some skidding drink. If you are not enough confident in yourself. In drawing such details, you have tow work even more. At the sketch step, cares of the main lines of the character are almost completed. We're done with the feet. He's a general daddy. All right, guys, amounts. I can hide signature. And I can see there is something missing here, so I complete it. All right, So now we can add additional details is like this Just to show some texture on on the cloth is I'm not going to add much black details I used to do for on the other drawings, probably on the hairs going to uses special techniques. You can see here how and feeling the hairs she has black hairs. But we can add some light on on this. With this technique, you can see series like parts, white parts and these wide parts of out reflecting lights on the hairs. Even if she's having black areas, you can still use these techniques. His techniques is very using comics and mango. Then you do the same on the other side. And we would have more ominous drawing that is completed with the ink. So we're not going into too much detail this time. We're just finishing the hairs and then we will be ready for the next and last steps that will be great values would add on the on the last layer 14. Creation of a female character, part 3: Now let's start with another layer creates and this layer will be set in multiply mud to make sure there is a transparency effect. We will do the same techniques like, um, like what we did so far, we are making sure there's no hole in the gray character. And we fell in these holes. If this is a case, and then I'm using the seduction tour sitting outside and I say all the I would sign of the character. And then I'm going to revert to selection. Siddiq reverts addiction. Then this is a character that he selected. I go on the last layer created and the music graduation tool. This is the same technique, basically, than on the men character we created just before. So we use this gradient technique. We have a dark side and light side, and then we can add some grays, whites from the eyes and graze for shadows, right for the reflecting light on the hairs. So it would be the same. I think we're really having to to play with the different values. And so this time this is how I'm offering you a new tips, which is about we're a technique to work on the gray hairs. There are many sorry black heirs, but there are many techniques, and I can also you also show you some self technique to add some light. You can see that them working on the no T shirt in the arms to add some light effect, and this effect I'm going toe work on the shirts and T shirts is different than the previews videos. Where we work on the shadows effect you Newt different with a different technique, so you can observe this technique and see that it's a bit different. But it's also efficient, so you can also use it. So I'm this same. Any work on the very small lines screen home? Many parts the cause, and it would given aspect off closes that are a bit and not in good shape. These colleges are not in good shape. She's really usually the case when you are fighting zombies and trained to live in a survival environment so you can use these techniques and details too. Give this feeling that she has some. She had some problem in shirts and clothes beat. I need some keen we and this shallow parts, he raised, which is green outside black lines, and I continue with the shoes you will see that it chooses not necessary. Big dictates when just feeling in with great and that's it. If you want to add some more details because you can, because here just really example that were not on the drinkers for boots, our shoes. So I'm just getting this doing. This has an example of it. Of course you can. Additional meetings. Okay, so this is done for that. There will be also some gray color year, probably a bit less than on the legs, because this leg is more involved in the light and again, some friend first lines like this, too, should the same aspect of the of the clauses. Then I can use some effect. So this kind of effect part of clips to your pain. But you can find additional brushes in for the shop or any other drawing software's. So I'm showing you something could be fun. We'll try to add some broad. It's and blood the brush on. We're trying to spread some blood in the character. Shrink said that she probably got some fight recently. Lutes train fruit stains so we can add some stain of loads of blood on the clauses that would make the character more more into the world where she's living. Probably got to fight with Zombie, and she has stain on her so I can hear him just changing some options in the use of the brush. The bad zebrafish keeps to do paint. I'm not necessary. Very good. You can find a lot off really much more interesting brushes in full of shit. You have 1,000,000 brushes for that. So just as an example, he can at some staying like this, um can change the characters, take of this brush and try to work at something like this. I'm creating another layer to make sure that I'm nuts killing the gray values that just successfully put on my drink. So I'm doing another layer and then I can erase. I put my brush, I use my brush. And then he raised the details of the brush that that's not necessary. Useful? You can see that I'm working only my layer five and they try to. I'm testing some brushes. There is not much brushes in my keeps. Your penetration. You can create your own brushes if you want it. It's not subject of this tutorial. Okay, so it's not perfect. It's not very, very good. But we just keep this as an example, and then I can see the difference. Step sketch the sequence. Kitsch, more details, the ink and then the great values and special effects we can say if X you can add and okay so we have now created or on the character with the different layers. This is very similar to what we have seen previously, but just giving you some some examples off off what can be done so you can try. You can exist myself to do something similar, and as a final exercise you can find on detail you can, or so put some very soft white on the black lines of the character with a very low density and the capacity. And you can just make the lines of the right side of the character beats a little bit more , suffering you in distant. Just why will make sure that delighted the right side of the character is going to he really have an impact on appearance of of the girl you can see that when you are going back on the full character is old gray values appearing and so on You can just do this effect. 15. Creation of scenery: Now we're going to work on this scenery. General scenery I have here in Photoshopped scenery picture the building and trained to transform disinter into into frame off. Working there, coming books time. So what we can do? It's too. Have registration for the ship is very good to create such transformations. You can see that we can, for instance, see that few. This picture is already set for a gang off post apocalyptic world that's should have shoes derided environment. I could win, filter, Aesthetic and I used the last option his outlines and give some things like this. It's not very gonna say that's something very good. More Azeris details in in your picture less. This filter is going to be very efficient. I'm going to transform in my molds, and I will turn into gray. I apologize. The video is in French software, A's in French, but you can easily find out on your English version like image mood and great, then to change the light and contrasts and you puts higher than immunity contrast, you get it, we can change it. What is important here with the community to hide some useless de tastes, then you can hide also with your normal brush with your graphic tablets. Something duties Then I can play with filter. If Didi outlines and give something a bit much more interesting, that's probably not the best example, but could give you an example about how we can transform rapidly an illustration or a picture into became frustration. So this filter, he is not really working for this example. So if it's not working, doesn't matter. You see here and train other filters. I don't find much things fitting with with with him was looking for. I was trained to get some black outlines for all part of these picture, but it doesn't work. OK, fine. We can create another layer. We can change your capacity of this layer of the picture and then we can work on the first there and to work ourself the outlines. So you shoes a brush that is very thin and see? Yes. Okay, now what's happening is the capacity of my brain of my brush layer. Put it at 100 persons and then you can work like this to work on every details. He could take some time off course. And now what we can do if you don't want to work on friendship, You said you count your layer zero boot's capacity back to 100% control A to set all the picture control. See for Cappy and you go back in Tuesday's of training in which you used to work and you do control the to past registration. This is exactly what I'm just doing here. Akopian past picturing to keep seeping from Photoshopped to keep city. So now I have two layers. Layer two wishes May illustration. Layer one, which is my working administration on wishing going to draw the black outlines. Why have could be money Picture here is because I really I love the brushes off clips, your paints. So I'm going to draw all the outlines and he could take some time. So I'm going to try to make something short that we're not do a live illustration here. It would be like boring if you just see all registration. Old lines drink, so I will do only one part of the building, and you can do the same with Ozer Things or the building. And you can do that with cars and bikes and stuff that is very complex to draw from memory . If you are not very green, uh, in drawing buildings, which she's normal because not very easy to drop, you can just use a picture and draw the outlines like this. So Okay, nothing is to add to this. Just you can watch me drained outlines, and then in the other video, we're going to see how you will complete the illustration. 16. Creation of a scenery, part 2: Okay, now we're back to the registration. You can see that I have added silhouettes and I'm heading here also the rest of the building I'm doing from my own imagination. I don't want to draw all the cars that was in front of the building, so I'm just imagine just having some imagination to create the rest of the building. So I'm finishing to add some detainees. You can do that. You can get inspiration for from picture than to change it yourself. It's usually which well invited to do when you have train comic book frames, because you cannot always find exact picture off the the scenery you are looking for. So this is important, too. Get inspired by something and into completes. You are registration. Thanks your imagination. So I'm now putting some shadows on the on the character. We can probably say that a zombie working the streets and ah, I can try also several brushes. Don't be shy to try things. What I'm doing here while I'm talking to you, it's the same time trying things because sometimes we confined their efficient techniques, is important to think about trying new things. Sometime we face something we find the new stuff, and sometimes it works and fails because it's making something more ugly. But you always have to experience things like this. So OK, I would add some, probably later, some details on a zombie working the streets, I'm adding a new layer. This is my third layer. I'm Putin's a multi play murdered as usual, and I'm creating degree values nights it's needs to explain. What I'm doing here is very similar toe old. The exact sizes waited progress in this course, so that I think you should understand better how we are. Blame this technique. It's always the same but always apply to different situations. So this time it's a blind Teoh Teoh scenery. We can see that it's working the same way, with great colors and soft, great colors, dark and gray colors. We're lucky that this comic book is in black and whites with great cars. It's give something very putting quotes, simple to do, because even if it's on the same value of gray, it always asks, um, knowledge off shadows and lights and how it works to make something really, even if sometimes it's you can have your own techniques are you are feeling to draw how you like to drove it. You have to get some basics off how the lights works and reflect on object, so it's also important, even if it's occurring. Books. Unreal story with zombies. But you have to keep some reality in how you are working on on the buildings people. That's home. So I'm heading some clouds here and ah, you will see that I'm going to add some additional stuff like this. What is making the clouds like this is just a brush again. This is a matter off brush. What's your brushes looking like? If you're looking for more brushes, you can just go on Google and type in your search engine brushes. Foolish A brushes clips, sweeping brushes created brushes on. No matter what is software you're using, it's you will see. Its, for instance, has 1000 of brushes free brushes available. People are something sending their own brushes in. Usually these are very high quality rushes, so now you can see that have been some details in the clouds. I changed my brush. I'm filling in my character with very dark gray and then where Muslims registration give you a very good example how we can work scenery. It's not finished yet, but I think you got it. And you already now to be almost at the end, of course. 17. How to draw a zombie: we're going to Drew is only of course, working. Dead is full of zombies. This is a mainstream nine of the story. This is why this is important to learn. House drove these creatures off. Course we have isn't be easier is dead corpse that is working that he's alive. So we have certain characters take in the way we're going to drug Zombie that we have to respect. This is very important to respect certain details. And we will see here step by step, how we are going to do to draw really zombie. And as with a technique that would be as efficient as we can, My advice is to do the sketch state based it as I'm doing here. You take away paper, are you? Take your software and your graphic tablets and you drove every steps. I'm going to start with this kitsch. So we have ahead. We have two hands so we can understand already that the zombies is training to catch Teoh the reader. This illustration is going to be very detailed. We had at least four or five chapters for this creation for this is illustration and this is really to show you every single steps, we can see that this catch is very basic. We are just trying toe put on the papers and main fears. The main areas that will be detained stood basted legal by leaving. And this is very important to put your your sketch to correctly work altruist kitsch in situate that you are not going to make me stick after. This is where I can say that very good. Skitch is something they're important before to continue. For instance, if your eyes are not align correctly, your character is going to have a can of stupid attitude. Are if you are drinking a hand that is going to be a too large or too small again, it will be a mistake, So make sure to have every part off yours kitsch correctly. No, um, doing the thinking. The thinking is going to be very more important part of this joint because it's going to give all the let's say, the life that Teoh fear that we can feel from this illustration. We gonna brutal, say, to feel the life of this character because even if feet zombie, he has a kind of life. But we have to feel the death from this character, and this is what we are going to work out here. The outs line of the character going to be don't resume fitness. But it's quite important because here the zombies is going to catch someone. So this is a very important frame. We can say that this administration is in fact frame, so this is important, too g some important to give the importance of these lines and to give some to get to all these details something very important. So right now we're still drawing normal human. This is the details inside a character that will change. Oh, he's a teacher and really zombie characteristics. Then I can stop now to work on the zombie. Ah, things. The place of the eyes are going to be like this with some whole inside. Do the face and you will see that's working, too. Get this character out off. New human life is going to have something else. He's going to be drive by death, not life. So we are not going to draw human highs. That's zombie eyes were going to drop like this. This time we're not especially finishing all the details off the main lines with the thinking like we did in the previous chapters. We're going to work sometime with black values and like you're in King and some time with some lines. This is a special techniques that is going to be used here, that we're going to feel in with kings and we're going to draw something else, as when the restriction as the zombies is a very damage buddy. We have to drove these images and seized images, skips by shadows, parts and some many other small details. First approach. We can say, My God, it's a tour black. There is too much black under face But this big shadow here is there is a very important part of fear. We have to feel from this character. So you will see that when we are going to progress in the creation of this character. If you are following every step as I'm doing here, you were going to see that it would give something interesting. So what we can do before the chapter is too full every steps to dro with your pen or your graphic tablets. And right now, you just following these tapes, don't try for it in and first step to figure out why here. Why like this? The first things you have to understand is there is no real reasons why we're putting some shadows here. It's a style. It's working. It's time that is like this. It's again a for like if you like to draw something there special with visit very special colors. You don't necessarily can explain why such color. It's the same here. We don't explain every places where we are feeling with that. So train own drain zombies, this zombie, they just reproducing where I'm putting the bags and you will see that Andy and it should give something interesting. 18. How to draw a zombie, part 2: Clippers running for charity. The zone some consistent until you executed you can and soft texture comes pretty filled The fuel. - Wanna come? Some I am for your teeth, Uh, - ppd moments for himself. You know, street, if it put it will conserve fuel. Like I said to you, You know, back here it's like a tomb. It won't take you. You can kick your shoes even. Um Yeah, kind of put this seniors on. He refuses there. Yeah, it's a safe distance that fits, you know, was seen What could get poor's? Because you Because do the composition concerning de No. - On this new working complete more detail. Thanks in. No. No, I don't. No one, actually, no. No, this is not fair. 19. How to draw a zombie, part 3: even cool. It was alleged. She's in it consistent on purpose. I think you bro. He started. Things start to do its communes. You know streets. His home was classic. The home plate tool in it. Perfect producer. If meet me you Did you finish immediately that it's he let list see the world? Due to the video, it's put in a sitting ensures pleasure. He's a ninja, period. Get good people Did a pretty good week referred about the degree Quit blowing sex in the city are contrasted to self They well I know you're Could you take himself? Do it ST even You don't want to sit up. Click here ST 17 40 When I would food to show put 20. how to draw the weapon M16: in this chapter, we will see how we can draw a weapon. We were bays are illustration on a really photography that will be used to create the weapon. And we have a gun here refill. So we are going to create layer. We put it in a year way have to draw on the layer. Both the picture and the picture will be with, uh, capacity is a ruse that would be decreased. And then I will use my black ink to drill every line of the weapon. I turned my working space to make sure that it's very easy for me with my graphic tablet to draw and then I draw. Don't try to your to use any rule to draw this. It's better if we have really the feeling you you have draw it without any kind of fools. Just you, your hand in your pen. If you draw the weapon with lines that are too straight, it would be between not make it to give the feeling that it's not natural. It's not. There is something. We're weird. So, Joe, your weapon start with the with the main lines, which are the ones that are around the weapon. Make sure to have s una capacity for all the black. It should be 100 person black like if you was drawing with China Inc. - You also have to be careful to to the thickness of the times. It should be quite similar. Everywhere you can see could be very they re fest. Just make sure that it's, uh it's following the lines it should not having curves that is going on the top are under . But, um, the importance of having a teacher has a mother for creating a weapon is because you must be sure that you are not drawing a weapon that is is twisted, for instance, thinks part well, drain here is very straight and should not be twisted from the right or the left. If you draw a weapon, that is not really to be. Not very. It would. It would be a kind of mistake that is very important to to avoid, because if you drove battle, scene and the weapon are nuts. Ria. So you have to learn how to make straight lines like this. Not like this. So this is a drill you can do everyday gun. Just draw lines again and again and again to being more confortable. Drink these. So trying now to Joe every every detail. You start with more important taste of again. And then you would have to to draw the outlines, all the outlines, which we're doing here before to do the details inside. So now you can upset how we can drove so wet using here. It's a normal brush. It's not special special breast. You confine such broaching every computer software, like for the show cretin someone. So it's not something they're special. Just bring outlines and then I will complete the work. But you can zoom out, check the overall work, and one's outlines are done. You can sell it some general parts and feel them in black. This is an effect we can give to stopped, giving some texture to the to the game you can add. Sometimes I'm scratched effect like this, and then we joe the lines inside again. So here you don't have to understand every pieces of again. You can just follow step by, step on the details, give you some tips on how you can feel with some black ink to re prison details as again is composed of many PC's. Is it punts? And even if you would probably draw some details that the nuts insects operating in the guns and normal again, if you do something that he's close to the reality to make it, you don't have to fit at 100 person to the ready to. You can have some changes, and so you continue to draw the lines like this. The thickness of the lines is a bit different inside again that what is also different is that you will have to add. Some black parts will feel some important again with full black ink way will give use some I would give you to the guns of this reality SP that we're looking for. This is not necessary also to draw every detains, especially if you have many characters to draw in your frame and or then Afghans, you have to to be efficient, to draw us fastest possible in necessary. Your old etait you can stop when you see that everybody will understand that he's wearing again fighting again. This is a general aspect that is important here in this example. In this video, I'm showing you a vegetative again that I'm working on bits. If you have small against Drew on your page, don't go into so much detail. It's useless if we understand this is again, then that's it. You you go to his next step off your off your page. Okay, so you continue like this until the gun is completed. 21. how to draw the weapon M16, part 2: in this second chapter advance drink again. We have now all of the outlines and details inside again that completed now can continue by heading back areas, feeling like areas you have to select what could be what could make sense to feel with black ink. The tree has to be careful to do nuts over overwhelm. Your drain was too much black because it will make Revert Teoh, of which we're expecting. You can see that trained push to put some details at one part of the gun and trained also to add some small crack small lines under again just to give coming. We can't speak. This is very important. You don't have to leave too much empty space in your object so you can add real things. You can see what I'm doing here. Small lines, small cracks, Peter parts in full black. There is not a specific techniques around it. It's hard to explain because it's really and that's your feeling. How you If you feel that you can add more detains nuts, you can zoom out hides of photograph E behind to make sure that we are going in the right direction and you continue to its, um, when you arrive on on such at such moment, where you don't know if you still have to add some black part or nuts, and you also have to know that we we had some grieve values also to this again, so it will complete again to compete the dream. So don't be afraid to miss a pure again. If your natural you think that you don't have much more black things to add to your again against, then you stop and you go to the next step, which would be the degree values toe on another day. But here I continue to to create some to add some details has said in previous chapters. It's also very important to think about the balance between the do white areas and black areas. You can have, for instance, Teoh part of the game that is fully black and the other part which is nuts with any black PC given in bands drawing, and it would not be be good to see that. Okay, so we are, I think, done with the wrecking wides. I can add some additional D days here, okay, complete like this other cracks and just to sure that again is not new and was already people already used it many times. So it's important also to make the gun fitting with environment. It's also very important to show that you're gonna He's dim age somehow, and so because it's a world where you have people fighting zombies. So it's a damage world in also cause these houses, cans, cars and so on would have the kind of damage aspect. So you you have to keep this every for every things you wandering. Don't make something that we shiny thank you. You cannot draw, for instance, a car that is Roshini. While it's Miller off zombies, it's not really even. Even if zombies are not real, you understand that it's every details are part of the story and every such details. Very important. So now I'm feeling the last small detail in black and white to make sure that they can select with a section toe again, I revert sedition. I create new layer. It would be like certainly you're here, and I feel with a great coach. Now I have a full gray color. I can now at some details with him more on Doc and Gray, and you will see that I will just make some additional details. Not much, because I will go on a run this time adding some very fast Grady tastes. And then they will play with small lights on the gun. Duck and parts light for us and it will use are getting a can of food working. It's time, Olive. You tow this video, you can just see until the energies video, old last details I'm doing on it. You can do it yourself and take another example. You take a picture off again and you try this technique to see if you get it, and you will see that it's very easy because you could be what is already existing. You could be just the main outlines of the begin creative layers, and you can easily create such a weapon. 22. Creation of a zombie, from a picture: we have here a new illustration that will be based on the real picture. So we're going to transform this women into a zombie. The technique will be very similar to what we have done so far is just another example. We will use the same tools, same layer technique, and it will give you just another example. Different examples. Very important to show you different example how this technique can be used. So I'm not give you any comments on these two views. I'm just getting new with the techniques and, um, step by step things that I'm doing here with the evolution of the creation. Be sure that I'm not changing anything to my way. How were work on this illustration? What you can do, it's to work something. They're similar, I condone, knows a picture and apply this technique to your own your own picture. The few points you have to remember. It's to always create a new layer above your picture, because if you draw on your picture, you will not be able to erase this picture. You really have to focus on creating to inking directly on another layer. So I'm just giving you the city. We can look at it, observed. The technique am doing, and you can do it yourself with this picture or with another one had a good video. 23. Creation of a zombie, from a picture, part 2: antes video we're going to create. In effect, I created another layer that is called Don't Care, which will be the dress higher part of the dress of the woman. And I'm going to have these. Don't tell parts in a different player, and this will be for a specific purpose. So now creating a normal gray Earlier in the military plane mode, I'm doing the gray as usual and you will see that thinks part of this dress with that is on the another layer. We would decrease the opacity of it to create a cane off soft effects. So we're doing the same usual technique with the gray color, and then you will see how you can create this transparency effects. I'm grating few details that are not fitting with with a man looking for. Then I'm creating great effects. This is a flat graham putting all the character. You can see that on the right side of the character, just leaving little space off white. It could create a kind off lights effects could I couldn't anyway, could be style. It could be something it can be fun to do, even if sometimes some cooler effect, where putting on the registration is not necessary. Following in Kane off logic. So I'm using higher gray on the dress more later. Great. And you would see that I'm not going to spend too much time in details. You can, of course, spend much more time. Where than when I'm doing here what I'm doing here. It's and necessary zoo. The perfect illustration is just how I will do it. But you can really be morph accuse. Um, little things can add. You can always add details. So he is character. And then I'm heading Dark Gray on this face. I'm playing with damage, Buddy, the rotten buddy. I'm playing well, so it's a smaller brush, and I'm working details with very tinny little lines and to change a little bit with my pen and doing many little things like this and the hairs, all these techniques we are already work with. Then, in previous videos, this course is very fuck. Using observation, you have to observe this technique. You can see that it's always the same, but with many different illustration different examples. This is Wait. It's not very complex. It's it's always the same with some difference. Some additional tips. So now you at some whites on the dress parts and you can see that the waiting is turning toe de zester. The woman was married getting transform into a zombie. It's very sad, but heaven, some things I'm rapidly adding some nights and shadows and different place frustration. I can rapidly also complete this his dress. Okay, good. 24. The last chapter: here we are in the last chapter of this course. I hope you have learn some good stuff and we're giving you here last example off how we can use these techniques and how you can draw, like working. It's time. So now what I'm going to do, it's the first layer with the frame. So I'm doing frame with then pixel off for the, uh, frame. And then I'm going to drove on the new layer That's cold. Here it's called Cookie and Friendships. Me means sketch. Ah, I'm drained. A new illustration. The sketch it would be It's a hard it's arm off a person, probably a zombie on someone else. And I'm going to draw a guy with a gun point pointing the gun on someone. We don't see this person. We just see his arm. So what is complex years to draw a weapon? I tried to do the weapon by memory. I'm not choosing mother here. This is what makes get more complex because there is a gain of I already see a problem with my gun. Brenda Lines, another re correctly lined. I will probably have a problem with my arm here, holding again Okay, so you raised its head. I can see that it's not well placed because it was too far from my Children. But it's we have here anatomy issue. So this is very important to make something really And to get the anatomy well drove the wise, it would not be easy to do a very service illustration. So yeah, you can just check this frustration. I'm drink like this. Probably you have another state doing nexus exit sign that is very similar to what I'm doing here. It means to two. Drove a real frame of coming book. This is a frame are so we can have the complexity off. Having limitation coming frame is giving new limitation and you have to play with this mutation. We also have an issue off composition. This is another story composition Answer. Two very specific rules we don't have. We don't see the rules here of the of composition. Could be part of another course. Probably course it down. How to dro coming, coming book here. We're just accusing the during the krockey, as I said in friends in French, to draw this kitsch and, um, to do this catch to do the ink inking and then to add the gray values. So disease again the same technique. Look at this creation again. This is a step by step illustration. This is a 15 minutes video. I think you got it. You get some new techniques to draw its, I hope if you have any question, you can send me on the on like my E Mei Mei in books. Give me messages at any time. I will try to answer you as fast as possible. I leave you to the situation. I hope you have fun to for this course, and I hope to see you again on another course. This course was my 1st 1 in English. I hope my French accent was not too much of a problem for you. And ah, you can also send me the draw. You're making Koran just feeling this This accord also just something else you can. But don't be shy. Send me every question you have made. If you need any advice is it will be very happy to give you some. And I hope you would create something again and again. Things that are very beautiful and ah yeah. It was also for me very fun to create the scores for you. Send me messages any time you want