Introdução ao desenho animado: crie seus próprios personagens expressivos e desenhe cenas completas de desenhos animados

1. Introduction: Welcome to Khartoum club, introduction to cartooning, an online course by me, Sarah Jane Vickery. Based on my cartoon pub online classes. I designed it for kids, epic kids who love to doodle and get creative. Anyone ages eight and up can do it. Beginners and Kim Dude lose alike. It's an introduction to cartoony, but it's also about thinking creatively. If you want to be able to design cool characters, Draw fantastic cartoon themes, and develop your own style. This is the course for you. Each lesson is more than just a step-by-step. I'll explain how I approach each drawing, how I play with ideas, and the kinds of questions I asked myself when I get stuck. So you'll be able to do the same thing when you're working on your own. To start, we'll get all set up. I'll tell you what materials you'll need for the course and talk to you about my favorite. Spend some time practicing are all important sketching skills. Then we dive in and start drawing with shapes, warm-up with them, wizards and dragons. And in no time will have doodled a whole valley of dragons. Next, we'll play with proportion, changing the sizes of our characters to create one crazy dog pack, and moving around funny features to make hilarious basis onto capturing expression. The key to fantastic cartoons will draw a blob with many faces, change eyebrows and mouth on Moody monsters, and put it all together in the big find, our first cartoon scene. Then we'll challenge ourselves with cartoons in motion. I'll show you how to turn Stickman into ninjas and use your fraction drawing skills to create spies and training at the spy Academy. Next, we'll grab our pens before cartooning words. In monster sound studio was wrong. Words how they sound. A bit of fun with lettering, bubbles and shapes. Once I've shown you those basics, we're going to start designing our own cool characters. To start, It's surprise I'm alive where I show you how to bring everyday objects to life. Then we'll play with light and lead inspire very fine and fantastic new characters. I'll leave it to show you how to take one character and turn it into a whole group of characters in doodle cartoon bunch that will be getting creative with scenes, will link are cool characters together to form a cartoon, colony, life on Mars. And I'll show you how to brainstorm and develop ideas as we each design our own dreams studio. Last but not least, color. I'll show you how to blend and layer with pencil crayon to really make your characters pop up out of your page. If you're wondering if the course is right for you, you can grab your pencil and draw along with me my free course tasted. And as always, thanks for cartoony. Me and the team would love it if you'd share your pictures in our Facebook group. And I promise you're going to be surprised at just how creative you can be. 2. What you'll need: I'm going to show you everything that you need to do the online course. If you'd like me and you love to draw it, you probably like nothing better than a little trip to the art shop. Now you probably have everything you need lying around at home. But if you're curious about what I think is great for cartooning, I'll show you what I'm currently using and I'll tell you why I like it. So first things, first, pencils, you will see me draw with either a 23 or four B. Now that is the number on the end of your pencil that tells you how hard the lead is. I'd like this pencil a lot of 3D because I find it's great for sketching out my cartoons. If I have something that's too hard, so that would be an HB or a B. Then I find it's not so great for sketching. I don't get that nice, loose, sketchy line. And if it's too soft, that'll be a higher number like a six B or AB, then I find is too dark and it's really hard to erase. So that's why Goto pencil to three or four B. And I'm currently drawing with Staedtler, Mars demographic or Faber-Castell, two really great pencils. But n equals two. Next is block fine liners. Now you can do the entire course just in pencil. You don't need to outline in pen. But if you want to, you will see me a lot of my cartoons in a black fine liner. So I often am using this one micron and I'm drawing with a 0.5 millimeter tip. I find it's really great for just general cartooning. So that is a great one. I also draw with favorite Castile or CAPEX. So great pens, but again, any black fine liner will do the trick. Next is markers. We only have one exercise where we do this, but we will do some outlining of lettering with a marker. Now you just need a plain old, fairly pointed to block marker will be perfect. You'll also see me use a brush marker. In that exercise. You don't need to have one, but it's useful to see it and you can always decide if you want to play around with it afterwards. That's a favorite Castile. One with a bit of a bigger tip, that's a Tombow, so fun to play with brush markers. But like I said, don't need it for the course. Just if you want to. Next is erasers. If you've ever see me in the Art Shop, I might be doing, doing this, giving a little squished to the erasers. I like an eraser that has a little bit squishy because I find if I have one that's too hard, it starts to rub off my paper or it will lift off my ink. So there you go, a little squished test and you've got a great professor, that's a fabric. Estelle. Next is paper. I'll draw in the course on plain old printer sized paper. So that's absolutely fine. Or of course, you can use a sketchbook. The good thing about a sketchbook is that by the end of the course, you'll have everything all in one place and you'll flip back through and look at your drawings and see how you've changed your cartooning. So that's the good thing about sketchbook. I always have one of my smaller than all books that are used for doodling. And it's great because then I can flip back through and remind myself about some of the ideas I had and then it can inspire drawings in the future. So that's always the big advantage of a sketchbook. And lastly, pencil crowns. We only have one exercise where we do some coloring. You're free to call your pictures afterwards, but we're always doing so much drawing. There's not much coloring happening. Pencil crowns, you only need about a handful of ten will do the trick. And I draw with either Prismacolor or favorite Castile. Any brand will be absolutely fine. That's it. That's everything you need to do the online course. But remember playing around with materials. See what you like, see what works for your style. It's all different. Everyone likes something different. Even I still choose what I'm using. This is what I'm currently using and I'll leave links to it in the description below. So if that's a help for you, you can check it out there. And I think we're ready to start drawing. 3. Sketching Skills: Alright, sketching skills we're going to work on are all important cartoon sketching abilities. All you need is a pencil and paper and we're ready to have a little play around. Before we jump into our first cartooning exercise, I wanted to show you the basic sketching skills you'll need to do the course. Now, this is how you'll see me draw in all of the different exercises. It's easiest if I show you using a couple of characters. So if you want to grab your pencil and draw along with me, feel free. But remember, this isn't so much about drawing characters, It's really about trying to develop our sketching abilities. So I'm going to draw, I'll show you. I'm going to draw my first little character and you'll see me sketch. Okay, I began everything by drawing really lightly in pencil. And if you watched my video on materials, you'll see I'm often drawn with a freebie. That's what I've got right here. Freebie pencil. And I'll sketch in my shapes lightly, fairly lightly. I use lots of sketchy lines. Okay. I I e.g. I. Don't just draw the shape like this with a single outline. I don't do that. Instead, you'll see me. You'll see me doing this, okay? Sketching up a shape using lots of line. The lines might crossover, okay, so allow your lines to cross over sketching and that's again here, sketching another little shape. So I don't worry about it being perfect at all. There are lots of lines. I don't press too hard, okay, because I want to be able to erase this or to draw darker over top of it. So say this is my first I'm drawing. You don't have to draw. This isn't about drawing characters. This is just about, about sketching out. Okay, so here I've got a nice easiest, I'd like to do it as a character. This is my character pen. Okay, So he's curious couple of, couple of eyes on him gain a sketchy, right? That's the back of them. And sketchy, sketchy shapes, sketchy lines in his mouth. How could I forget pens mouth? Because I'm doing it quickly. There we go. We've got pen. Okay, So that's how I begin. My characters is sketching lightly with pencil. Then I will either outline and pen or darker and pencil for Penn, I'm going to outline in pen. So basically I come in with my with my black fine liner, which is like I said in my, in my video about materials, I'm frequently drawing with a micron, micron 08. And then I outline, this is just my most frequent method. Okay, then I'll outline the character in, in pen so I don't erase off my sketchy pencil lines. I leave them. Okay. And I go over it in pen, one of my pin and pen. And you will also see that I, I don't go directly over the sketchy lines I've created. I go over where I decide that I think the line is going to look best. Okay. The reason that I have the sketchy lines is that That is neat, figuring out where the character is going to be. And then when I come in with my pen, that's me finalizing the line that I'm going to choose to create the character. Remember, this is just about sketching, okay, So that's, that's what you'll see me do most frequently. The other thing you can do to work entirely in pencil, okay? So let's do, let's do pencil. Here is this is, this is actually hue is another character. So again, I begin by sketching. So if your sketch along with me, sketching lines lightly in pencil here, I'm just sketching. It's a rectangle with a little triangle peak on top of my head. Okay. There's a little bit like a pencil with a few little lines. I sketch them along. I don't worry about them overlapping or looking messy and don't press too hard. I don't press too hard. You'll also see that I don't hold my pencil like this. I don't hold it straight down to the page and I don't grip it like this. Hold it out further out at the edge or at the end, Let's just say, okay, Because this, this prevents me from pressing too hard the whole pencil like this, more like a more than a paintbrush, then my lines stay light and sketchy. Okay, so practice that, practice the way and think about the way you hold your pencil. It might feel funny. A lot of people are like, Oh, I don't know if I can have it feels weird. It it it might feel weird. It might feel weird for awhile. This is just you don't need it. You don't reproduce. You don't need to be sketching the character I'm doing is just as easy for me if I sketch. So there is, there's, there's, there's Huey sexually but little. A little stubby pencil crown areas. So like I said, this method here or here is drawn starting off with sketching lightly in pencil and then go over it in pen. Here I draw entirely in pencil. So I've done my sketching pencil, and then I come in and I outlined it darker in pencil. Lots of people will draw in class entirely in pencil and it looks great. It's all a matter of your style and the way you like to work, there's no, Oh, men will say sorry, here we dip in his head. He hasn't been sharpened properly. You still see my sketchy lines. Okay. But then I go over darker. I outline in pencil so that I'm not going to say almost forgot one of whose fingers. So that is how I work when I work entirely in pencil. And then so say I wanted to neaten up my drawing. So for my pen pen pen after my ink has dried. Okay. Yes, I'll give it a good amount of time for it to dry. Then I can come in and erase off my initial sketchy pencil lines. And that is why I don't do them too dark, so which doesn't really get this Oh, I can't get it off. But it's more difficult. Okay, So if I had I done my pencil line too dark to begin with over pen, then I'd be, I'd be erasing harder. It's harder to get the pencil off. And I'd be lifting some of my ink, which I don't want to do. And also I make sure that I leave my drawing for a little bit too dry. And when I, when I start erasing, I erase off a little bit and see if it's going to smudge. I don't want to smudge smudge the ink. So that's why I do that. Then if I was drawing entirely in pencil as I've done with Huey here. If I wanted to meet him up, I don't have it just go around some of the the sketchy lines and Newton, okay. You can even eat it, really leave it for me. The sketching pencil lines don't bother me. 11 tiny bit in a drawing. It's to me, it's absolutely fine. Okay, So those are the two methods you'll see me using the way that I sketched and why. That's why I do that. Another thing is if you're using the videos and you're filing oh, I'm going too quickly. Or you've missed something. Remember, there's always, there's a little off little gear icon. Okay, there's a little gear icon down in the corner of your screen. You can click that and you can slow down the audio speed. If I speak too quickly, you can do that. Somebody will say I'm too quick, so it was empty. So let's turn it into a character is this is our little gear. If you're finding it out others, this mother just want if you're finding it all too fast, slow down the audio speed. And of course you can always just rewind and re-watch sections, okay, you don't have to eat how to do it all at once. Also, you've done an exercise and you feel like, Oh, it hasn't turned out the way I wanted it to. Just go back and redo it, but there's no harm in it can only help redoing some of the exercises. And it also you can go back and watch the exercise again, but maybe, you know, change it and do it in a slightly different way. Like maybe you do one exercise and you work, and you do this method working with sketchy lines and pen. And later the next time you thought, oh, I love that I draw and turned out do it again and try it doing entirely pencil. Oh, and one other thing to point out about the videos is if you see that the play bars on top of the, top of the drawing, as long as your mouse is, you move your cursor away from the screen, then that played bar goes away and then you'll see the full picture. Alright, so that was a little warm up. Now if we can start with our first cartooning lesson. 4. Wizards and Dragons: We're gonna get warmed up by drawing wizards and dragons. This is where we learn all about sharing with shapes. You're gonna be amazed at how quickly you're gonna be able to start to create some really fun cartoons using nothing more than basic shapes like these. You can see which one I use for creating these characters. For this exercise, all you need with you is a pencil and paper. I'm also going to outline my cartoons and a black fine liner. You can do that or you can work entirely in pencil. That's up to you. Alright, I think we're ready for wizards and dragons. Here's a look at the wizard and dragging that will draw for this exercise. I've grabbed our shape to simple rectangle, and let's have a look at these two characters. You can see in the Wizard where I've used the shape, it forms the basis for his entire head and body, his robe. There you can see the rectangle shape, how I've used it there to create him. Now over here in our dragon, you can see it as God made a little bit narrower, Nikesh make a water next time. And here is the rectangle shape again, creates the characters entire head, body and even down to his legs. Alright, so that's where we're going to start by sketching in our shape. And then we'll create our wizard and to try again. And then let's see, I know that I've created my two characters, so I'll do my drag over here and let's sketch in. My rectangle for my wizard. Doesn't have to be exactly like this. Remember, you can change it however you want. Like maybe I wanted to, I could do it taller, rectangle for my wizard. But again, you'll see I keep my lines sketchy, okay, So I'm not pressing hard. This is sketchy, sketchy lines. I figure out how wide do I want this? How will I don't want my rectangle? I think this is good. And then I'm going to do my rectangle for my drag and then I'm going to line, these guys are actually take a line across there and see that they're, that they're lined up. Make sense, it might seem I'm leaving a little bit of space in-between because I didn't leave my wizards holding his wand or something. So there we go. Okay, alright, so our shape is in nice enlightened sketchy. Let's start with Dragon. Now, the first thing that I'm going to do when I'm starting with a very basic shape and creating a character is to come in and sketch in their eyes. Now, there's no rule as to where I put the eyes. This is the very basis for what's going to start to create your character and how unique it is to you. I'm pretty my eyes back here, so I've done an oval and then a sort of a smaller, smaller oval or circle right there. Now, the reason that I've done my eyes different sizes that I think it's going to make my character look a little more fun. And I've chosen to stick my eyes back here because I'm picturing this as being the back of my character's head. As for my dragon, I can come across and this forms his nose. Okay, That's what I'm picturing that his, that's his nose. So next thing is, I think, about my next most important feature in my character, which for the dragon is definitely his mouth. I'm pitching a big wide open mouth. So I'm going to form that out of the rectangle. So all I'm gonna do is bring a line back here, see from the front of his nose all the way back. And then I got to maybe give him a little, little curve up with the answer. So you smiling. So there we go. And then another line down will make me Smith chart. Another line down. Now it looks like his mouth is open. You didn't have to do it like that. You do it is just a smile, but I'm going to do it as if he's got a big wide open mouth. He's talking to the Wizard. Anything else for my character's mouth? I might make it like he's got yellow because his mouth is open. Maybe we see his tongue, you know, so there we go. Maybe we're seeing, seeing his tongue like that. That's draw some nice attention. Then next, I need to get, I think my character's arms and legs on. Legs are straight there. I could come along and draw another shape down here to create some legs. But what I think I'm gonna do is I'm going to make my character to be quite short. And I'm just going to show a little rectangle out of the base. Then all of a sudden there he's got he's got legs. I guess I'm not I'm not doing that parser here. I can erase off. There you go. Now he's already, he's got some legs with a very short, very short and wide. That's quite cute. And now I want his arms. So what I'm gonna do is I'm not going to chop it shape up for that. Instead, I'm going to. Adding a little rectangle. That little rectangle will be his arm. I'm picturing him waving at my wizard. So I've drawn it at an angle, but you can draw it however you like. I'm pushing it out there at an angle. Next is my characters other arms. So I decide what's he doing is he got his arm up, you know, he could have is let's do this. I'm gonna do that this time. His arm up as a fuse, use. He's very excited to see the wizard. So another, another little rectangle up like that. So he looks like he's got his, his hands up. Now I'm missing some big features of my dragon. The most important is tail. Now if the tail, I'm also going to add a shape, what I'm gonna do is I'm pitching this is my characters back. All I'm gonna do is swoop a line out like this. You see there? So it almost looks like where's that little holes I can move and it's going to attach a moon to his, to his back. Here we go, That he's got a tail. Look like that. But you could draw everyone. Maybe you want to go a little triangle on the end and he's got a spiky tail or something. But I'm going to leave it like that, I think. So next, I've got the outline for my character and he starts to look like a dragon. So now I can come in and add some smaller features to them. First and most importantly, I want to get in my characters Peoples. I'm picturing him looking over at the wizard. So I sketch in two little circles or ovals, ovals that are on this side of his eyes. So it looks like he's looking over here. So that's quite good. What else? I think he needs? He needs some horns. He's a dragon, so let's get some, some horns on him. I'm going to do one up here. And again I'm just adding a shape. So it's almost like a straight line and the curve, it looks like a quarter of a circle or maybe more than that. So there we go. Now I can decide. I'm going to add some spikes in his back. I think I'm gonna do two horns on his head. A couple more shapes like this or like this or like long, long, long oval shapes almost there. Anything else? I think that's fine for him. I think that's fine. Except I think he needs a little bit more. Oh my goodness, I'm forgetting most important thing. We need his wings on it. Okay, so I'm going to get on my characters wings. So I'm going to do those. I'm gonna make them small. I don't know how this guy flies, but he gets small, small wings. And all I'm drawing is two triangles onto my character. And see this, they're at an angle, triangles and they're at an angle to each other. There we go. I could make them want to make this shape. I could do them. I could do them like teardrops. I could do them. I might do it that makes you a scallop line down up, down the bottom of them. How's that going to do a scalp? Scalp under the curve Kircher, three little curves along his wings. Or I could make them join, but I'm going to leave them small like that. Then next, any other details for my characters? I think, you know what? I liked this triangle shape. I'm going to use that. I'm going to put little triangles onto the ends of his fingers. Now it looks like a little thing, little, little claws and toes, little triangles along and it's all building up shape. Charles, there we go. Now he's got his little, little clause. Look laws, just simple circles. And just that olecranon and we give them nostrils, nostrils die, those are going to be what do I think that's it? I'm thinking I'm ready to outline this character. Remember you don't have to have one pen. You can just go over your lines darker in pencil, but I'm going to go over and pen. I come in and I outlined my eyes first. Now the reason that I do eyes first is because I want to make sure that I capture my characters expression to meet the eyes are really important for that. So I kinda do those first. Then I can start going round my character's face. I'm going to keep the shapes all quite squared up. All the lines are staying quiet square. You could round off his nose if you wanted to. It's all a matter of how you want to do the character in your style. But I'm going to, I'm going to leave them like that little lines as it's been quite, quite simple. Now the other thing is, I haven't done any teeth along my character. I think I need some teeth. I've done these nice little triangles here. Why don't I add some teeth to my character, little triangles, it's just little triangles all along. He's now, here we go. The reason I'm doing this now because they're in front of his tongue. You see? I want to do the teeth and then I go in and I then I outline my characters. Tongue. There we go. And also because his mouth is open, I'm probably saying I want to show that I see through to the back of his he was male. So there we go. I've drawn a line down and that will be the back of his mouth. So we're sort of seeing him at the side. Now that I've got the most of my characters. Eyes and mouth dub. I can come around and do the rest of my characters. Smaller features around is the back of a moose body. So horns, horns down is back. Then I remember when I get to my character's arms, I stopped because I want to show the characters arm in front of his his back or in front of his spine. Okay. Then I can keep going down my character. He's been tail. Remember, you want to spike Yeoman and leave it plain. And around the rest of my character's body. Nice, spiky little toes. And body again, I get to this arm. I'm going to stop an outline like that. I could have done it because otherwise my picture him, he's just got to rotate it. He's kinda turned around a little bit. And then the rest of my little, little details, all my characters, nostrils and use fun wings. And I'm gonna make them with this scallop you kinda curvy line at the bottom. You don't do that. However you like, get creative about stuff. I don't know if I look at my ink is going to be dry but I'm going to erase off my lines. Don't do what I do. Don't erase, erase your your character too soon because you can smudge your ink that way, especially parts that are that have more ink on unlike lipid pupils in that right where you've gone over with more ink like Erica. And I'll erase this off. And then I'm going to have a look back at my character. Whoops, I did too much. Going. Have a look back at my character and see if I need to add any more details. There we go. Oh, he's good. So looking back to my character, do I need anything else I had to I mean, I feel like I could add maybe a little belly to him. You could do that. Or I think I'm going to do some stripes that my characters who are maybe both and they both need stripes and all the other steps on, on all the horns just for fun. But could be something else. Maybe he needs some polka dots down his his, his tail or eat like you said, you could have done spikes down in I think that's enough. The only other thing that I would do. Another marker for this is this is where it's helpful to have a black marker that's a little bit thicker versus the one that I'm coloring this in. This is the back of his mouth. You see, if I color this in black, then it's going to really help make my character's mouth noticeable. You really going to see it at your, your attention. You're going to notice that there we go, the first character drawable shapes. Time to work on our wizard. The wizard. Having a look at him. I've got this rectangle shape that I'm going to use to create his head and his body. Okay. I'm not adding any more shapes to this one. Well, not not for those parts. I'm going to start the same way. I'm going to come in and drama characters, eyes, so two circles or ovals for my character's eyes. Except this time I'm going to stick this side of the rectangle. But again, there's no telling that you have to put them up the top. You can pay for them further down, It's however you want. But I'm picturing my wizard looking over at the dragon. So there we go. Eyes on this side and these turned this way. That means we see his nose. Okay, so here I start around my character's nose. I think this is gonna be a bigger feature for him. Adding a as long as like an oval so you could picture that being an oval shape. So I had an awful maybe yours is small, I can do it however. And then I'm going to do similarly to what we did with the drag and see how I created this tail by doing a soapy line down. It's just like the shape of a moon, almost slim moon. So here we go. This is going to create my wizards beard. Put straight in here like this to draw yours however you like, make it creative with it. And then I'm going to continue the lineup, right. So I'm picturing like his beard. His long beard was already on the ground. It comes up like this towards where his ear would be, like a word with earlobes. I'm going to hide it under his hat, I think. Like that. So it kind of cuts his body and not quite half but up that one. I just I just continue the curve. There we go. He's starting to take the shape for wizard. Now I want to do the next most important thing. I think I need to get onto my character's arms. So here we added a rectangle. I think I'm gonna do the same kind of thing. I'm going to add a rectangle. It sounded a little bit of an angle again. My characters arm coming out. In this case, I'm going to also add on another shape to be my wizards, and hence can be tricky. So all I'm going to do is add a rectangle. You see that direction on top of his rectangular are a coder. I can make this line come down and go like this. It looks like it's his, his, his cloak rabbit, but, but I'm just going to keep it simple. So there we go. Next, I need my characters other arm. I think I'm just going to do that straight down and decide. So I'll keep it like this. I could have done it and I hear that the arm out, I'm going to keep my wizards arm straight down. So another rectangle now I sketch in a hurricane really lightly because I'll be going over this darker in my ink or like I said, you can do the parasol and another rectangle on to be his hand. I think I'm going to tuck. How's this going to do another rectangle? It's like he's got his spell book under his arm. Teach that dragon or something, some spells. Just a rectangle coming out from under his arm. Going into, you see just where his hand curve around the book. But we don't even need to do don't even need to do fingers. And then I do want to put a wand into my wizards ham. So here it is. A straight stick. Maybe go make mix a little bit thicker. And I think there is a charge. Does it need a little star on the amniotic? Do this, but whenever you want to put on the end, or it could be a little bright. What I, what if I do this? Those stars have fun shapes. I could go like this X capital a, little sparks coming off of it. Could you that maybe now I'm missing a really key feature. I'm missing my wizards hat. So let's get that in. I'm going to draw this by drawing on another shape. So starting from around my character's eyes, okay, there, I draw a line back and align up. I'm making a triangle. So I play around with those. I love for you though, right? I think I'm going to make my wizards hat flopped down. I draw another triangle on the dock. See two more lines out. Floppy hat, big floppy drives is right. There we go. And I got to finish off his hat on his head, right. It's down on his head. So from around where I would picture he's either you go through that loop for voters. I down to the back of his hat. Now it looks like it's sitting right down on his head. There's into a beer. Describe a little bit. And then what am I missing? Oh, I need some more details now. I'm missing the most important thing, pupils, right? I want them looking over at my drag it. So here we go. Two circles on this side of his eyeball, looking over at his friend, the dragon. And Aye. Aye, Mr. One important one. What do you think that smile, He's no mouth. But I think I'm going to add a mustache to this character. So that's just gonna be, it's all formed out of this shape. So if I just curve around as if that were a circle, then I might make a little bit like I did the scallop line on this character's wing. I'm going to do the same thing, but the other way around just do like curves like this. So it looks like he's got a fuzzy, fuzzy mustache like theories. Make it longer. Terrific. Maybe I need the same thing up top, so little tuft of hair coming out. So again, I would pretend like how about a circle there and then draw curving line coming around. So it looks like he's got a tuft of hair coming out the top of it. And then this little smile areas. And I think I'm ready to, to outline this character. I start with by outline my character's eyes. If it were a character where I thought the mouth was most important, I might do that first, or if there was some other feature that, that was really important for me to capture, that might do it first. But for most characters, I'm going to catch the look in their eye. Now she just knows and now I can come over the top of my character's head. Can do his wizards her hair above. Now I can come down around my characters, the rest of his body. So I can do is be here. Now remember same thing. What I have something that's overlapping in front I stop. The spell book is in front of my characters beard. I outlined that. And all I've done is I go over my characters. Feste is get a little curves. It looks like he's got knuckles. Spell book in restaurants, beard. No, I can do his other arm as I catch it. Lines up there. Keep it simple. And here's his uses warned. The only other thing I have to do is down his back and I think I might I'm just going to swap this out. So it looks like That's the back of his robe, it goes out. I think that will look good. Now, I erase off my lines. Or even if you've opened pets, I can still just neaten up some of those sketchy lines if you like. And then I'll have a look back at my character and decide if he needs more work. If he's if he's got enough on him or if he needs some more detail, like I'm thinking maybe some patterning or I could do something down his cloak, his hat. There we go. Great. I think what I'll add is some stars to his hat. And I could do a different pattern down his cloak. I'm going to leave it plain. I think the stars are going to be enough. I didn't do any I didn't do a star on the end of his wives. I feel like I need to do some stars here. And I do some, some that are you see the whole star and some that are like this where it's like they go off the edge. Because this will help to make my characters hat look like it's fabric, right? So to feel a little bit more, more realistic. So how's that aren't enough? I think that's enough. Right? We've done, are done our wizard, wizard and drag it. Let's have a look back at our shake. So you can see here how we use the rectangle to create our wizard, his whole body and his head. And then adding on shapes to Korea. The other parts like he's, he's had in his arms. And then over to our dragon. Same thing. I thought again, I could have made it water from the shape creates his entire head, body, and legs. Then adding on more shapes, the moon shape, the rectangles, half circles, triangles to create the rest of the features on the character. So that is how I like using shapes ofs much within how I like using shapes to create characters. It gives me a great starting point. If you want to give yourself a little do challenge, How about this? Use another shape. So here's one. This could make, What do you think I can make a pretty good, pretty good dragon and a pretty good wizard. So same process. Sketchup your shape. Put some eyes on and then see where you can add to that with shapes to create your character. And I'll see you in the next lesson. 5. Valley of Dragons: In our first exercise, we took one basic shape and turned it into two characters. This time I'm going to do something a little bit different. We're going to play around a little bit more with the shapes. We're going to draw a bunch of different shapes all over our page and turn them all into drag it as well. There may be a wizard or to throw it in. Now, you may think that some of your characters turn out a little bit funny looking for That's okay. The aim here is to see what happens when we take a basic shape and really use our imagination and see what we can create with it. Now this one is a sketchy one, so all you need is a pencil and paper. Alright, I think we're ready to start drawing our valley of dragons. Here's our next exercise, using shape. Now what I've done is I've grabbed, I grabbed a bunch of, a bunch of different shapes and I thought we can start off by sketching out some shapes on our page. I'm going to arrange them. However I feel might be kind of fun. You can use the shapes I'm using. Or you can also sketch in some of your own, especially some of your own shapes if you like. I'm thinking that maybe this, this might look kind of fun. I'm doing. Mainly I'm gonna do dragons, but I may pop in or a wizard or so. So thinking now these might look like maybe those were flying dragons. I like that maybe someone's sitting down. I don't know. Alright, I'm going to sketch out these shapes. So start off sketching yourself in lightly some shapes as my circle old habits, small as okay, I want to leave a little bit of space around the edges because these are dragons, right? I might be doing a tail or a long head. I don't know. Here's my next one. It's kinda, it's kinda like a teardrop shape. Alright, so my sketching, sketching my teardrop areas, Sketch and Sketch myself at mosh pit right there. Sketch in my teardrop. Like this. This feels like it wants to be a line Dragon for sure. All right, that was done. Great. And then I want to do a tribal well, let me get quite that big, but I'll make it, I'll make it pretty big somewhere around here. It doesn't have to be used as an attribute level. It can be maybe something a little bit of an angle. Anything that can make Maya, maybe I'll do a bit more wide. Here we go. How's that? Okay. Perfect. See how you're sketching my lines. Get this is this one's just, I was just playing around. Alright. These won't be perfect finished characters. And I have a sort of a half circle. Pop that one and I'll do it down here again, I'll maybe do it level or do I do I put it out a bit of an angle again. I think it's all right like this, maybe a bit smaller. I can vary them. I don't have to do them the same size is that these, that these shapes are, they're just there just to give me an idea. Alright, that's my half circle done. I can move those eyes off. And then I've got an oval. Again. I can place it in whichever which we don't want to be standing up. So I'm going to do it kinda like this on an angle and pop in life. My oval here it is. It's not quite as awkward as long as that one, but that's all right. Perfect. Okay, so we've got some shapes to begin. Let's see how these can inspire me to do is some dragons. And like I said, maybe it was or two. So I'm going to start up here at this one. This one seems like it might be one of the easier ones for me just to start with, because I'm thinking it feels like natural physical line dragon. So if it's a flying dragon, I'm picturing that this is my, my dragon's tail. I'm not even really change it very much. I may just add a little, little point on the tendency to thicken that up a little bit and let's see. I didn't like that already. Then I'm going to come in. I'm going to place my character's eyes. Alright, so that can help me see where and how I'm going to create my character's head. I saw a couple of eyes get sketched on. Remember you don't have to do it. The way I'm doing is just one way. Then I'm going to get into this character's mouth. And it almost feels like for some reason it's gonna be a giant mouth. It's like for this character, I feel like the ending part of the body. So on the main part of this character feels like, like it's this big, big mouth here and face at the front. Just because that's sort of what the teardrop shape makes me feel like. You might see it differently, but that's sort of how it, how it makes me feel. They've been lots worthy, almost looks a little bit lucky. Could you turn them into a whale or something couldn't do, but he's going to turn into a dragon. Definitely, Yeah, well, at work, a couple of pupils, okay. Couple of pupils for my characters. I, I want, he's flying this direction in my opinion, so he's looking down here. Oh, please not going to crash into this striking over here. Next, What's next most important in my character? I think that because he's flying, I better get in some wings. The wings, I'll do them like two triangles, right? So I do a V shape, and then I do another one into a triangle. There we go. That's when going one way. And then I turn the other one into a triangle as well. Okay, so I'm just building on my shapes. If I want to, I can make the bottom part of the wing a little a little a scallop line. It's a curve, three low curves. 123, same with the other 1123. Or I can keep it straight. I have this little triangle for the tail. So it makes me feel like I want a little bit of a pointy shapes somewhere else. So that's why I thought maybe some little points on the wings might look good. Because the rest of my character is just one big round teardrop shape. Next, I want to keep making him look a little bit more like a dragon. Perhaps he needs I can give them nostrils. I could give him a big, perhaps it's going to get big, a big horn on top of it. We've got a big, big, big horn there. Or I could give them too little like two little communicates. Tuple horns behind us. Behind this are behind his eyes. Two little horns like that. He could have. Remember, this is just, we're just sketching. I'm playing around. Maybe I don't think maybe those stuff too small. Maybe that doesn't look right. Grab my rubber. Maybe I maybe that's not right. Okay. So maybe, maybe this maybe this. What if I make him what if I make them all but fierce talking? I'll just angle has z. If I chop off the top of this, I have is a circle. But a little bit, little bit fierce, but I've gotten smiling. Maybe that's not the best idea. Let's try again. Try again. What will the shape influence me to do? Why don't I round up? I'm going to round up. That feels better. Round the eyelids are top of my character's eyes. Maybe I turn this into maybe this is this is Mrs. Mrs. Dragon. There she is. I gave her eyelashes and the eyelids and if I can give her some little eyebrows, how does she feel now? Yeah, that feels more fun. Okay. Then I've given her this gigantic mouth, an exaggerated a bit by adding some teeth. Okay. Because it's just a straight line. I could have drawn it open. That would actually have been quite a good design for something that's a teardrop shape as well because this part of the character is very large, but I'm gonna go quite simple. Jaggedy teeth like that. Maybe she does need a good nostrils. Nostrils on her. That looks better. I'm missing her legs. They're gonna be teeny tiny because I don't want them to overpower the nice shape I've got of her body. She's just going to have a little tiny lift, couple little curves, couple little curves out the front. And it's almost as if I've done little rectangles that are curved and pointed her little toes because I have the points here on the wings and the point on the tail. And I've got a point as well on the, on the horn. So those are our nice features and then I can do too little that. So that's why I put points on the front feet and I'll do the same thing to her, her little, little back feet. I think that's it for this character. I'm just, like I said, this exercise is sketchy, so I'm just going to outline the lines that I like in pencil. Beginning with her eyes. Okay. Beginning with her eyes. She used her eyebrows. Maybe I should have made those points. That could have been a good idea. Around her body. And under her belly like this, here she is. And her around a rather large face, which is created by our teardrop shape. And then just her little brother, large smile. Again, the repetition of the triangle shape, right for her teeth off quick query triangles in here, despite starting off with the basics of a teardrop. There we go. First, first drag and I got to have a bit more detail to hurry only get one. Like there were some stripes are some spots or whatever, but I'm going to leave her like that. And I'm going to go onto, I'll go to this little character here actually. This is also going to be another line dragon. But I've got, I've got a fairly different shape here. I mean, if the teardrop you can imagine that that would be a circle. But here I've got just circle, no tails. I'm going to have to add in a tail, but I think I'm going to make it quite small. I'm going to make this as if this is my characters gigantic, round body. Okay, so I'm going to exaggerate that as the round body here, I did it such that the, the shape created the character's head. Here I'm going to do it where the shape is creating the character's body. This I'm imagining is my dragons body, which means I'm going to need to add a tail. You might make it long and wavy. I'm gonna do it short actually, because I'm going to make it such that both the tail and the head are small and short and the body is big. Okay, So here we go. I'm adding in a little curve line that's gonna be sort of like the opposite side of my tail. Okay, So kinda balances out the tail on the other side. That's the little, little characters. Neck is a small, short bottleneck, short little tail, and then a little oval on the front. Again, that's quite small. Or academic route, maybe I would want to exaggerate that round shape, oval to be my character's head. So in this character, the body is what really is exaggerated and expressed in my character. I'm going to leave it just around like that. I'm going to start and I'm going to put some eyes on my character. I'm going to get there. We're just gonna do small oval but maybe I make them round, that make sense. It's either round body. I'm gonna do a character with rounded, rounded eyes like this. There he is. He's cute, okay. And maybe I'll do the same thing. I'm going to stick with this idea of round and I do think round nostrils cells that maybe they're blowing smoke, you know, maybe there's a little puffs of puffs of smoke coming out or something. So here's just a gigantic mouth. I'm going to just little tiny smile, That's it. I'm not exaggerating the faceless character, saturating the body. I've got. Now what is starting to feel like a dragon? I need some more drag any kind of features. I think what I'm going to add is maybe this character gets some sort of like, I think he might need a couple of horns there because his head is quite small. Just a little something else to pull some attention there. Why with a couple of two horns on his, on his head may be angled this way. I'm going to do maybe spikes down the character's back. How's that? Spikes along? A little spikes all down. I think that looks good. Maybe just maybe just tiny wings. Maybe just like little tiny, little tiny wings. So it's kinda funny thing was carefully gigantic body, big, big feature of its gigantic body, a little, little tiny wings. Somehow he manages to fly. Then I'm gonna do, I'm gonna just save it teeny legs. I'm going to do energy teeny legs on them. So that is a four little rectangles and just spread them out when it's coupled of fraud and round here and a couple more at the back. I could do. I make this character maybe I'll keep them. That the legs quite simple, I'm just going to do occur if I'm not gonna do toes, there are pretty small so that you keep them straight, straight little legs like that. Feels a little more dinosaur-like. Alright, so that's that. And since I've got this gigantic body, it needs broken up somehow because it's big and it's quite plain. I could do something like put spikes all over him or I could, I could do a pattern, I could do sports. But what I think I'll do is I'll start here. I'm going to do like a curve as if he's got a different colored belly like around like this, follows the shape. Here's the curve, I should say, of my round body. Here it is. Here it comes down. I don't know. Let's play around with it. Remember these ones such as sketchy, when I'm not gonna, I'm not gonna be inking. Then let's see, maybe I can do a curved pattern along around the belly. I'm thinking. Then you'll really feel how round this character is. Alright, I'm ready to just give myself a little, little outline. So I actually did the horns their first because they're right intersecting with the eyes around my character. And down and around him. Then over his back. Actually, what might've looked good is instead of doing spiky scales, I could have done it rounded ones. That might have been a good idea to work exaggerating. Getting my character like a little wings on waving like little, little motion lab. So the waves, we feel like it's fine. The wings rounding them up. It's a good idea to do. It. Exaggerates the feeling of the characters round body, right? When I'm letting myself do, is be influenced and get ideas from the shape that I've started with. Don't forget, there's a couple of couple of puffs of smoke coming out of his nostrils. There he is. He's got, he's got it takes a lot of energy to lift up this body. Alright, next character, so I like those, those are quite fun. Now next character, I'm going to go four. I'll do, I'll do this one. I'll do my triangle. It's gotten a little bit closer. And then I'm going to sketch my triangle a little further over. A little bit smaller. We're going to go house that has a little bit close to smoke. Alright, so I've got, I've got a shape, my triangle shape. This, this is a bit trickier almost I think, because I'm naturally want to round out some of these edges to create my, my dragon. But I'm gonna do something different with this one a little bit more. What I did here, see I used the shape and I created the head that right within the shape. Here I added, added a shape on top to create the character. Here, I'm going to do a similar thing. I want to just slice out a section of my shape and this is gonna be my character's head. You say, I'm picturing this character. This is like the, the, the, the back, the tall back of the character. And that's if we're seeing him from the front. His head is right here. I'm doing a half, half circle shape. This is going to create my characters. Have a look there he is. That's his head. Because the way this curves around, I naturally think that maybe he's got all these little, maybe it's melts down there at the end of this curve. That makes me go and place in my character's eyes next, okay, because now I've decided that that's his head. You could do it in different way around. Maybe you want to do a little curve down here and that's your character's head. But I'm doing it up here. I'm going to do bigger eyes on this character here is bigger, bigger eyes, bigger eyes. Because I've done my sliced up a section for my character's head. So there's my characters, Baker eyes, maybe he's got a couple of life that I feel like he needs a couple of little horns or even, even ears maybe look to it. You might look too much like a cat. I won't do that. But I do like the idea of a couple of horns on him. And because we've created this head within the shape, I might need a few more features to make it so that you can kind of understand how that's going to be. But for the moment, I'm going to go on and do my character's body. So this is, I feel like this is his back. Okay, and then maybe I'll add a little swoop out here. This is his tail. Kind of like maybe use this sitting right on his tail, just bends around like this. I add a little swoop. Little swoop. Maybe I'll give them, actually give them a triangle on there. I don't know. Let's see how it looks. It's a triangle shapes and maybe a triangle would be a nice thing to add. Now, this thing is my character's body. It's as if he's sat down. So maybe you always see is like this is what he's got to at least got a leg leg out there. We did this in the previous exercise where I created legs on the dinosaur by chopping out a shape. I'm gonna do the same thing here. I'm gonna, I'm picturing, well, not actually going to chop it out on, but I am going to draw the legs are like this. Like you sat down but like your dog with you. So these are the front legs. I draw them within my shape. Or I could go like that and make it as if he's sitting, but I'm going to pretend like this is his big belly comes down or something. But there we go. Those are his front legs. Do I even need a back leg? I mean, I could possibly put it in a little older, Shorty one. Maybe. You sat down like this. Little back leg like that. Okay. There's there's the knee partners, there's there's foot. Okay. Now, let's add a few more details to start to make him feel more like a dragon. We need pupils and his eyes like my picture is characterised by piece. He could have been looking up at this character, would make him looking down pupils down there, looking down at whatever is happening to this character and give them, give them nostrils, U-shapes, upside down U, as I said, like us giving him hormones which I quite like maybe there's a tuft of hair on there. And what else? What if he's sitting, we're going to maybe he's got his wings out like this, right? So we're just seeing these wings in behind and I'm going to do them sort of triangle icon areas. Now it's starting to feel a bit more. I see when I add the limbs like that was starting to feel a bit more like we're seeing him sat down from the front. There's just there's his mouth open to do the open mouth. I just show that character subtle curve for the characters tongue. So here's wings and Microsoft. I'm going to give them a little, I'm going to give it a little scallop shape at the bottom. So I like this one. They're quite small. I wanted to feel because we've got the triangle. So I want to really feel like he's books that sat down on the ground, right. Anything else I could give? I could give some spikes or something down as devil's back. Do I need them? I don't know. Well, I guess I can put them in I'll put them in a few spikes down his back. Then I think that's pretty good for this character. I might give him since I've got the spiky using the points they're making them a little pointed toes. It might help to show that those are legs, his front legs in comparison to his body. Just a little couple little toes down their back leg. And now I can darken down the lines that I like. And again, these are just quicker, quicker sketches, right? You can even try doing these, these drawings with shapes faster than I'm doing them right? If you want to just like SketchUp ideas, they don't have to be, they don't have to be finished. Finished drawings. I just think that sometimes I'm just like sketching quickly and sometimes it's nice to, to see which lines you pull out to create the drawing at the end. That's why I like to do it. Well, you can definitely see the triangle shape in there. Alright, next character I'll go to. Ok, I want to hear, I'll go onto here. And I'm going to do something somewhat similar to what I did here. Because this one, this one I feel is a little bit easier because I feel like I'm looking at a dragon. He could be. I'm thinking I'm thinking head on head offices, head-on, sleeping. But you could do it where you add a little head here and a little tail there and he's and he's sleeping. But I thought I'd do it a little bit. Slightly different viewpoint to this one. Where he's like, this is head on, head up. This is going to be a character's head and he's asleep. So I'm just going to do a little like sleepy eyes like that. Just little curves as all little U-shaped. That's pretty simple. I could add, do I need to add a chin? I could possibly add a give my character a chin down here. Alright, at this stage I'm sketching in any other shapes that are creating my character. So that's why I've got my initial shape. And then I've added another semicircle within this half circle, just another, another half circle down there. The characters sleeping. Maybe they've got, and then we just see like the tip of their tail flipped out the door. Or maybe it's maybe it's curved around here. There's a little maybe that's the tip of their tail curved around. How should you ask? So not another curve. This one is all about adding, adding curves, or maybe we'll even give them a tip to tail. I'm even going to curve that curve curvature. Let myself be influenced by the curves. Curved tail, curved triangle, a bit more curved, curved chin, maybe some curved little arms. Curved little, little arms curved underneath his, underneath his chin. This is he sleeps. Corolla makes me wanna do curve nostrils. What if I do a little curve is here for his nostrils. X, Alright? Okay. I can make them, can make them quite, quite big and roundy, roundy. I may want to see, I'm going to put some horns on. I wanted to start to get the character looking like a dragon. His horns. So pouch on the question. That's okay. Then I could do it. Could you spikes again down his back but this one because we're seeing him like this, I feel like what we need to see is the wings. Little trunk of the wings. The wings maybe folded, folded, lying down on the character's back as he is. He naps, maybe curving around. Maybe I didn't curves like this. Maybe I do, instead of a scallop this direction maybe I do little curve like that. Wings. So I can exaggerate that curved shape like that. How's that? Feel like? I feel like a sleepy, sleepy little dragon lands under under space and give him some little curves at the side. I don't know if I can decide if I'm going to keep this shape straight like that. I forgot, I just let him then curve around a bit. I think he's gonna be alright like that though. Anything else? Oh, I need some teeth or the nostrils and then teeth and even need a couple of some big, big teeth. There we go. Okay, I can outline this character. She's final lines. So my advice for sleep utilize me. I'll make this another girl TO eyelashes, but quite, quite good. And these are just little curvy set aside at, and those are scales. There's something on my, on my dragon. Curved nostrils, curved up the mouth, curved a little chin. Same little arms underneath my character. I probably should have started with the wings since they're on top of the body and are curved tail. And the curved point. Dan, Okay, one more and I said I might pop in a wizard, so I'm going to do this pencils directly, my next pencil, alright, wizard, here's my wizard. But could have done him. I'm catching the center if you want to stick with dragons, but I just thought I'll pop in one wizard. The wizard, I'm going to do him here. He is. I could make us his head, a little teeny body maybe make that as gigantic head could do that. I think what I'm gonna do though, it's a little bit different. I'm going to make it, these are gonna be my character's eyes. Well, you see what I'm going to do. This is what I'm thinking. I come into place the eyes. I place the eyes. Wizard knows he's going to have a giant beer that we did a joint beard and the other in the other journalists, I knew it hasn't been saving giant beard except so This is gonna be my beer. I'm gonna get a little swoop for a little curve. Okay, Are you start to see what I'm doing? I'm pushing my wizard. He's got knocked off his feet. Okay, so here he is. Maybe he's like little 0 first male, he's gotten knocked off his feet. Maybe that's why this gentleman and I better get a wizards hat on him. I'm going to do is get my occupancy he's created over and I was about to do it straight, but then I thought, No, he's created out of an oval. Let's stick with that shape. So I give myself an oval on the top of his head to be the brim of his hat? Can I can do his hat. Oh, maybe it's just stick up like that or says Stick them like I think it sticks down like this. Flops down, I should say. Flops down like that. Great. I like him already. And I think he might need eyebrows. I'm gonna give him a gonna get gave him his bushy eyebrows. I better make them out of ovals. Oval is the shape. I'm gonna give an oval eyebrows and then he's going to give him little hands. Okay. Now I add in the rest of the details, right? Or what's going to create. My characters look like my characters are a little arms out like this. He's, he's curtis. Our careers handed a little circles. Hands can be difficult but start with the shape. Okay? So what I've done to do his arms and the rectangle out and then a little circle on the end. This will turn into his hand. And then next, I need to do the same thing on its little legs. Legs, legs. You see too much. I don't think that the idea that he is he's a flopped over. And I'll do the same little ovals. Ovals for his feet should be enough. And he better be. He's dropped his want. Okay, So here his want. So this is going to give it a little, a little star on it. Maybe. They're just want his, his fingers are gonna be open. Alright, so I just draw a little again. Areas, excuse me. Draw a little ovals all over. He's shocked. I draw a little ovals. I drew the one to close. It's supposed to be falling out of his head. Little over onto his hand, creates his fingers. Ok. So everything is made out of shape and now I can outline him. Okay. Let's grab as either way it looks it looks like it looks very, very shocked. I didn't give them a mustache. I'm going to give them a last-minute sticking a mustache and all of his greatest mishmash, I probably didn't even need it. And then brim of his Hajj little extra bool level up there. I could come in and do details like little star on his hat or whatever, but I'm gonna keep it just simple like that. And his beard. Now you see it's shaped, aren't you? It's also a little bit like this shape sleeve of his Of his robe, I could have drawn in the rope. Maybe I should draw a little shape for the robe. I'll leave it there. I'm going to leave it just like this. I'm not going to get fancy with just the theta's legs and feet as shapes too. I don't need to love seasons. And again, I'm just outlining, outlining the shapes. Okay, It's all abode. All about shape. Alright, that was good. We've got quite the little valley of dragons and maybe it, maybe it needs a little issues with little valley here. So what we did was we sketched in a bunch of our shapes and then saw how each shape could influence to us to create a character and look at how different they are. I mean, here were the shapes that we started with AI. You see that? The teardrop and how I made that into the drag, where the focus is on this big head of my character. Then what do we do? Or that we did this circle. Okay? So similar like a curve like this, but we added in, added in the tail and the head and exaggerated the circle as being the character's body and then other features small. Okay, so that's how that one was influenced. Then there was the triangle on this character, a trickier one to do. But by coming in, in, shopping in a smaller shape to create a head. All of a sudden, I can see how I have a character who's in a different type of a position. Not a typical, normally would picture a dragon flying through the air or something like that. But not such a typical were usual position. But it works I think it works. Actually kind of like him the best. I like them all. And then what do we do? We did our little half circle. This is maybe an easier one to do, But, but drawing the character head-on is perhaps not the most. Perhaps this on the first way that you would think to draw him, you might think of drawing this says the characters back and then his head out here and his tail out there. Similar to these but by using the shape and then duplicating the shape by creating a head and using that shape and other areas. It creates a different, again, another different position for the character. And lastly, we got in our unfortunate wizard. And instead of that, I could have put them like this, which might have been easier for drawing a wizard, put them like this. And all of a sudden he is, he's knocked a wizard who's had a little, little accident or as well, something's gone a little bit wrong anyway. Never mind. So I hope you enjoyed that. I hope that gave you a good idea for how shape can be used to influence your characters. Now if you want, give yourself a little doodle challenge, you can keep working. And what I would do is same thing, sketch out a bunch of different shapes all over your page. Keep it sketchy, but create a different character. Like maybe if you're in, if your favorite animals, dogs or horses, or you could do a whole page of these, could all be birds flying, right? Or maybe, maybe instead of doing drag as maybe you do dinosaurs, so they're a little bit similar, but you'll come up with all kinds of different characters just using shape. Alright, see you in the next lesson. 6. Crazy Dog Pack: One of the best ways to create a super fun and silly looking characters is to play with proportion. This is where we change around the sizes of our character's head, body, arms, and legs to see just how silly we can make them look. We're going to draw a pack of dogs for this exercise. We'll start off by drawing our shapes. Then we'll change the shapes around and create different characters. In each case. Here's another one where we're playing around its lights sketchy exercise. So all you need with you, It's a pencil and paper. And we're ready to create disproportionate pack of dogs. Get us going on, are playing with Proportion exercise. I've grabbed us a couple of shapes. So we've done drawing where we create a character using one shape. Now I'm going to stack two shapes together to create my next characters. So I'm going to use these two to create my dogs. I'm going to draw probably for dogs. I think. I'll use these two shapes so that the half circle will be the dog's head, and then the rectangle will be the dog's body. We're going to do this for different times. But what I'm gonna do is I'm going to change how big I make the half circle and how big I make the rectangle in each case. And then we'll see how differently we can draw the cartoons, how generally these characters are going to look. So to start with, I'm going to give myself a little line, a ground line along the bottom of my page so my dogs have somewhere to stand. And I'm also doing this because I want to look at how differently they look in comparison to one another. Now I'm doing for dogs. So that's going to be one dog here. Dock yard dash marks where the dark so I can kinda going to space them out somewhat evenly. There's not like felt right? 1234, almost always, it's not quite right. Alright, so there we go. I'm going to place my dogs in those spots along my line. Alright, we've got a rectangle and half circle. I'll start with the first dog here. And I'm going to do them, well, I'll do a boat in these proportions. So I sketch in a rectangle like that. And I've left a little space here, that's where his legs are going to go. It's going to be my sort of normal English proportion dog. This is what I'm imagining. There goes my half circle on top of my rectangle. Okay, so this is going to create my first, hopefully normal ish proportion looking dog. Of course, he stands up because he's a, he's a cartoon. So he's going to be like that. Now. I'm going to give my dogs into the legs down here. Okay. And the legs. And now I'm going to continue creating and turning him into a cartoon. So let's see, I could give him a big nose like this. And I'm going to give him yeah, I'm going to give them some Google, a stylized so come in and draw on a couple of circles. Day my character's eyes. Here we go. Spec ears, floppy ears, maybe. I'll give them, goes flop, flop Italian, up and down, floppy ears. And give him, as his pupils have been looking over this character here, that his other dog in his pack, in a lot of thought smile there. He's got sort of shortish. I could've made a little bit longer to make them more proportionate, but I'll give him a short legs like that. Little circle first fit maybe stands on the ground and little arm to match. So it's just sort of a curved line out. Another little circle for his part. Male first sale, I always forget characters, tail and tail on their hearts. They look pretty good because they need anything else. I'll probably do some curves along his paws to make him look like he's got doggy pause. I think that will do it for that character. Now, I'm not going to outline him just yet. I'm going to go to my next space and sketch in my next character. Again, I've got a rectangle for the character's body and a half circle for the character's head. Except I'm going to change these proportions. I'm going to make. So here had, had a fairly standard looking rectangle here. I'm going to make this a tall. I'm going to keep the legs but at the same length and looking for a tall, slim rectangle. So it's as if the character's body has gotten elongated. It's gone, gotten longer. How's that? X belong? I'll do the head the same same size as this half circle about. Maybe I could tilt it, maybe I'll do, I'll change the title, tilt this character's head up a little bit. And how's that manner? There? She's a girl dog. There. It changed here is similar. It's similar size head, tilted it, and a long, long, long, narrow rectangle for the body. Let's sketch on some legs. So she's got about the same length legs as this guy. Maybe I'm going to change it a little bit. I always like to change things. I'll make her she's kicking out your leg for some reason. Maybe. Yeah, I'm changing my wife. She's going to pick up this lecture is going to be maybe she's playing soccer or something. That's just my little mark so that I get it in the right position when she's dancing on one leg up in our tail, tail, tail there. There's one on my golf social delta is similar. Legs. She's kicking on out. She looks almost like a sausage dog, doesn't she? Really super long body sausage are. So they have those little V-shaped ears. Why don't I give her those V-shaped ears? This is a sausage job maybe. Erica. And I'm going to do little eyes closed. Very simple. Curves like that. And a little bigger smile. I cannot, and I make it bigger, bigger smile on this character like this. I'll use this whole shape here to be my characters. Up into her smock isn't eyelashes there to go. Bigger, curve around there for her. I like her and give her her little front leg. So we have extra preferable in archaea. It's too close to his house. I can fit it in my style sheet. That's good with Google for arms up. She's a Bob, him in the nose. She is well circle for her paw. Enforce. The tail. Will care about you for a pretty short tails. Sausage dogs. So here we go. So now we've changed. We've done a normal ish type of standard dog. If it's standard document or not, then we've done a long rectangle for this character's body. So what shall I very next? I'm going to, I'm going to change the body again, except I'm going to make it much smaller. Okay, so I've got super long hair, got kinda meeting there. Here. I'm gonna do a short little body, but here I've done all the same length leg, legs. This time I wanted to do really long, really long legs. So I sketch in my shape for my character's body, that it's not big enough. It's pretty tiny, isn't it? Why is this maybe a little tiny bit wider? And my God, here's my eyes. What kind of dog has really long legs? This could be a poodle. Prompts me. This is a nice, elegant, nice, elegant poodle. Screen, nice elegant pool, aka a lot tougher around the tail. And then I'll have probably heard myself have done my character's head. The head, the half circle was kept the same in both these cases, I can make it bigger or I can make it smaller. I may make this character's head smaller. This, and I'll give this dog, this dog and neck and let's see. No, I don't think so. I think that I will see, I think I will make this character it would be smaller head, but other down here, down here on the bottom, there's a half circle. I tilted it again. It's a bit smaller than these, so both the body and the head are smaller. And I said I do a poodle, so maybe she's got a big puffy, Puffy hairdo. And they've got sticky audi ears like this. Like a poodle. I guess. If my character, long arms, maybe she's like maybe she's a she plays she plays basketball or something else is just going to have a long arm here and here's her mother, that long arm. She's calling out, calling her friends, come over and play with her. Here she is. She's she's playing basketball. So I can finish off my character by getting some eyes on her. Circles, her eyes. She's she's looking over this away. She's looking over at her other Friend and her pack in all those unnatural line there, I can really make that her smile, sideways smile there. How would that work? There she is. And do poodles have adult they have a little while. Little puffs of hair around their ankles don't like. That'll work. Yeah. Little puffs of air a first-day around their ankles. So there will be her Here's the he or she is playing basketball. Okay. That's also going to be reweaving. She's calling calling a friend over. Here. She is saying, come on over. Okay, For the last dog. What I need to change is I think the size of the head, I have medium, medium and smaller half circle here. So this time we're going to do a big half circle. I don't have a lot of space to do it this direction, so I'm going to do it. I'll do it this direction. How's that? Looks pretty big. So here I'm changing the proportion of the size of the head. Big half circle. I've done medium rectangle, tall, slim, one, small one. I could do. I could do, I could do y do. I'll I'll do a little bit narrower, but I'll make it longer. How's that? So as if he has very, very short legs, There's the rectangle, rectangle. And then there's the head sitting on top of the rectangle. And he is super short legs, little tiny, little tiny legs. Let's draw them as little tiny rectangles, little squares down rather means he's going to have tiny arms. I think. John, medium EMRs, long arms. This is super teeny tiny arms, which of course he do to support. You won't be very good at basketball. I don't think a new tail on him. And he's going to come over and maybe he's got he's going to, he's got a racket. He's, he really wants to play racquetball barriers. These programs don't have any sports or she's dancing. This guy discuss and need to be the coach. I'm going to give him a whistle. There it is. It's got to resolve. Okay. I'll finish off this dog. The dog has a super big, long face, so I better to bigger style of eyes. So maybe too big. Ovals overlapping on this character. I chop off the bottom of those and I feel like he needs oh, maybe he's got a headband on because he's going to play, what did I say? Squash. And I think he needs one years. Lawyers have this huge, long years, long, maybe even longer, elongate the ears. These characters, I haven't done anything special with the ears. They've all been kind of kept the same. And here, here we go. We see is super long ears popping through. And I think he needs a big nose. This was all the same size November getting the nice big nose. And a little tiny smile to exaggerate his big nose. I think you might need eyebrows, this guy, eyebrows on him. Maybe not. Because he's a little tougher to softer hair out with top two. So let's outline these characters. The reason that I didn't outline them as I went along was I wanted to sketch them all in first and see what they would be like as I changed the various proportions of them. I'm going to add our grasp this guy as I go along. So I'm going to outline my characters now. Let's see how they look and how differently the characters appear. With the different proportions. Various heads and bodies, but mainly, mainly what we varied. The rectangle for their body and then the half circle further head. And just by doing those two variations, we have very different characters happening. When you're drawing yours. You don't have to do the proportions that I've done. If you think you want to do a giant head with a skinny, tiny body, I mean, that could work really well too. So don't feel like you have to do the ones that I did. Here. I'm just doing this exercise and pencil because it's just one where I'm playing around. These aren't these aren't finished characters. They're just they're helping me to see what it's like when I change different proportions of the characters. Seals and seeing what that does to them, to the personality, right? Because you're always trying to create characters with lots of personality. Here's my little basketball guy. I like basketball girls. Maybe she needed a jersey on. Oh, am I supposed to put the little oh, I missed putting the little further balls around her wrists that she's probably supposed to have those. Poodle. Poodle makes a great basketball player. So don't worry about these as being perfect finished characters. Possible. The basketball. Also, the reason that I made them the thermal rockets and balls and things, is that even when I'm doing something that's just just to sketch where I'm just playing around with an idea like this one playing with proportions. I, myself find that it's helpful to have a little bit more of a context or an idea about what the character is doing. Because for me, that really helps me add to the character's personality and get a feel for them. And again, it's not like this character is going to wind up being my only dog racquetball player. But by having something with them like the rocket or that. It also helps me to see how having another element in will change the look of the character. So there you go. There we've got our four different dogs. And they are all very different in this guy. When I look back, when I looked at all of them. This guy, does they just pretty normal if if if you will. I think she might look the funniest or maybe him, because we, all we did in this character was changed the body that's kind of normal mesh size. And you can even imagine a sausage dog walking like this. But the poodle, and you look at the length of the legs, look how short the body is. I can look at the length of this body. The length of this body. This body is almost a third of this bikes will not three times the length of that. So really, really different. And it's about his body is about twice the length of that one. Then here he's about, he's about to two times the poodle. Then look at the head, so kinda normal, normal. And then we'll make this one a little bit smaller right down on the body. And then him look at the length of his head for how long it is in comparison to the other one's. A really good way to judge, is also to use your use your pencil, right? So if you're if you're wondering, oh, have I really made that body damaged longer? Use your pencil market, Take it over to the next one. See you look at that almost twice the length. And then I can see it here. That's about two-thirds of this one. And then there Normal normal dog. All right. I hope I gave you a good idea of what you can do and how you can really change your characters when you play with proportion. And we did it remember using just two shapes. So all these characters created using just these two basic shapes for inspiration. If you want to give yourself a doodle challenge, you can give yourself to more shapes and see what you can create with them. You don't want to do dogs. Maybe you like, you're a cat person, maybe you want to do cats. But how about these two? What about a square and an oval? And remember you can change the angles. Imagine that being a cat, alright? Without being a cat. And what if you made a big, big, big square in a normal oval? One little trick that makes us very continue, but it was a quarter of the size and a giant head. You can imagine how different the characters would look. So there you go. If you want a little doodle challenge and play with some more proportions, there's an idea for you. See you in the next exercise. 7. Hilarious Faces: We're going to play with proportional gain, except this time we're going to focus in on our character's faces. Are going to change where we place our character's eyes, nose, and mouth to see how differently we can make the luck. This will help you understand how you can change just those three things to create some really different looking and fun characters. It's another sketchy one. So all you need is a pencil and paper. And we're ready to create hilarious spaces to get us started playing with proportion in our character's faces. I just grabbed just a super simple shape, little circle. I think we can draw a bunch of faces using this. Now I'm going to set this one up slightly differently. I am going to draw myself three lines where we're going to draw three rows of faces. So I've spreading those out. It's easiest to draw. Just draw a line in the center first, that's easiest to judge. And then another two lines on either side. I'm going to do three circles on each line, okay, three different phases. On each line. You could use a different shape, but I'm going to keep it simple and do circles. So again, lightly sketch. These are just little sketches so that not going to turn out like finished cartels. It's just have a look at how much you can change a character's look by where you place the different features on their face so it doesn't need to be perfect. Get my circles in there. The reason that I've drawn them with a line through the center is that this is going to help me judge, or tell where I'm placing my eyes, nose, and mouth on my character. Stay, we go. Great. So let's start with the character's eyes. We're going to change where the character's eyes are on the face. So I'm gonna begin actually by drawing a nose on each of these, each of these characters. I'm going to draw the nose right at the center line. This line that I've drawn here, it's giving you my, what I'm judging by and draw a little nodes on each of those. And I'm just doing a straight line and curve, straight line and curve, straight line. And the curve looks like it looks like a bee that's not closing. A B, I get a straight line and curve. Then from my first character, I'm going to draw eyes on it. And I'm going to drop our eyes high up in the head. I'm going to draw so two circles for my character's eyes, fairly high up in the character's head. It's my first set of eyes. Then for the next character, I'm going to draw the eyes. But I'm going to take them right down to this line. Right down to that line that I sketched in NFL. And then for my next one, I'm going to drop the eyes even more difficult than even lower down. How crazy is that characteristics? They don't have to look like great characters is just having them look at. Here. The eyes are right on the line right here that either write down at it. How does Larry's okay? So high, medium and low though though, eyes. So I'm going to come in and up, up pupils in my character's eyes so that we get a better feeling for them. Actually looking like a person. There you go. It's hilarious. And now I'm going to add a mouth and wherever you want, put the belt. I'm going for this character, I'm gonna be normal looking at one little simple smile right at the center there. For here. I'm going to put them the other day about the same. So it's very simple. This one That's all squished out. What? I pulled the mouth up. Pull the mouth up. How does that look? Let's just darken down our lines and check out our characters. I'm not inputting eyebrows on these characters to just sketches to have a look at locket L2, I'll do it all on the face. Don't quite need to button here the eyes on the line. No. Kinda like him too. And here my lowdown load down eyes. And look at how high the mouth is. Look at our different ladies characters like he almost looked like the picture. This is your turning them into like it's like dad. Dot character and discouraged. Little bit cuter. I quite like unusual. So it's like, you know, she was the daughter or something like her eyebrows in there. And this almost looks like a Baby like you almost want to put a little curl of hair at the top and turn him into a baby. This whole line, all we changed with eyes. So let's go to our next line. This time. Let's vary where we put the nose. So here's our, There's, there's my line. So the first nose, I'll just put just the same little, little V-shape, so straight line and curvy. And I'm putting it right on the line. Then I've had Juno is higher up, so I'll move it up in the character's face that's going up there. It's well above the line up high. And then I could do a lowdown, knows what time it starts about there. Starts at one and goes down below it. Right. So normal high, low noses. And now I'm going to put in my eyes, I'm going to keep the eye is all kind of normal about App line. Kind of normal, shaped and sized eyes. Though AP at home. Here. Hello dear Solaris. And there we go. And again, I'm putting the eyes at the line. And I think that looks good. Let's see. Mouth. I'm gonna make them sort of normal place here. I'm going to actually move the mouth up. We're going to, just for fun, we're going to move the belt up. I could do normal place back up a little bit, forced to move the mouth down a little bit here. Or I could put to the side. I just want to put it up and lower down there. And let's put pupils in her characters. Look a little more like people. And darken down our lines and see how our characters look. This is a good exercise to do as well because I find it's easy to get into the routine of drawing characters with the same types of faces. I do that sometimes where it gets stuck drawing the same types of eyes or placing features in the same places. And so my characters wind up looking very similar. And it's very useful to be able to change around some of the features like here, what was our nose here? We just changed the, where the nose was placed on each of those pieces and really changed around. This character again, looks quite young. I find scared. It looks quite young. It's where the features are all very close together and the eyes are higher up. And here they are a normal character. He looks funny. I just want to add a big beard down on them or something like that guy. We've done eyes, nose. Let's change where we put the mouth. So I will put it, we're going to want a normal. So here's a normal normal positioned mouth. Say, Oh position, well, I'm going to a lowdown mouth soup, blow down, whoop. I'm going to go high up now if I could do it high in the center, the center or high side. I don't hide this out and I'll do it hide the center just just to see how that, how that works if I move it to the side. So now I can add in my eyes and my nose. I'll start with the nose. I'll put it I'm going to try and put it in a normal position, which is right at the line here. I could also put it right as live there and gets stuck because my my mouth is way up high. So I need to either move my nose up or move my mouth to psi. Well, if I move my mouse to the side rules, it's just playing around. Then I put my nose the same position. Position right there. Eyes. Eyes, I'm going to do them offline if I can. The line there, I can do the math line here. I like this look actually at a, we're looking to get a bit stuck. Your metric measure, move this one I up there. This one is a little bit of an angle that's not go. And give my character pupils. I quite like the look of this character. And how's this keratin? Maybe I'll angle the pupils. Looks like he's looking down. It's kind of a useful, isn't it? Darken down my lines? Smile and laugh or carriage with last-mile. This one, I'm good too. Let's see how I said they don't look quite like finished characters. That's all we're doing is a circle around their head. But it gives voice or glove wonky. It's got a huge chin. And this was mouth. We changed the mouth, eyes, nose, and mouth. Let's look at the, let's look at the mouth. I just love this character. She feels like she wants to be like young girl there. She's got some hair to her. I love that character. For some eyelashes. You're gonna carried away here. This character OR gate, maybe he needs it, maybe it needs a big beard. Maybe that's sparse or big mustache, big beard and mustache. What do I think with that one? Then here this was our normalization on which character. Not quite as inspiring. I feel like when I move the features around to a certain extreme, right? So I pushed, say this, when I push them all the way down, I see a lot of character in the cartoon. Even this character, I would not normally have done it maybe, and maybe just a little change will make him look a bit better. Like maybe the smiles a bit more. Off to the side lab is like a vat or opens up, open up, open up his mouth. So this can start to help you see ways for creating some really different characters by varying positions of the eyes, the nose, and the mouth. So if you want to give yourself a little doodle challenge, what you can do is do the same thing again, but try a different shape. What if you did these characters? Moving eyes, nose, and mouth, but you use this shape, then you can get really different looking characters game or maybe a different shape. Here's a challenge. They might not look like our people or the math look like people who knows. You can make those look like people. Triangular head. And again, move eyes, nose, and mouth. So same thing, you draw three of those shapes, centered about a line and three times. So you have nine shapes all the same. And I'm the first one changed the eyes. Second one, change the nose. Third one, change them out and see what kind of crazy, hilarious characters you come up with. Okay, see you in the next exercise. 8. The many faces of Blob: For me, capture expression is the key to create really great characters. This is what gives them their personality and really brings them to life and helps to tell the story. Now, in this section, we're going to focus in on our character's faces. For this exercise is all about the eyes. We're going to draw block, super simple character, but I'll show you how by changing the way that you draw your character's eyes, you can really change their expression. It's another sketchy exercise, but playing around again. So all you need is a pencil and paper and we're ready to create the many faces of lobe. Before we get going, Let's have a closer look at my friend, blob. Here is now blobs, great because he's a super simple character to draw. He's just a little bit more than a half circle, you know, there there's a shape like a D and simple eyes. Okay? But a couple of things to notice about Blob. So he's got, he's got, his pupils are a little bit in from the sides again, it makes them look kind of cute. He's got up quite a small smile. Now we're going to be showing different expressions on him. We have a couple of challenges here. The first one is blob has no eyebrows. Now, in capturing expression, eyebrows are really important and it can be really helpful. But with Blob, we don't have that option. Oh, we've got is his eyes and his blobby body. Next is Blobs mouth. This is the next challenge is that blobs mouth is quite low down in his body, and it's quite small. So I can't go and make a gigantic or something. It wouldn't feel like the law anymore. So this is, this is the next challenge. So there we go. There are challenges in drawing our blob. But the good thing about flop is why I like doing this exercise with an actual character, is that in behind I have an idea about the character's personality. So a person who I could do this exercise during a bunch of different expressions just by drawing a circle and some shapes and faces. But it's more fun to do it this way with offered block. So grab your pencils and let's get started. The way I'm going to begin is by getting in a couple of lines on my page so that I have somewhere to stick my lobes. So here we go. Lines sketched in. And then I'm going to draw in six different blobs. So I'll start with the one in the center. Okay. Because it's easiest for me to judge the center of my page. So here we go. Half circle or so. For my, for my first blob, I'm going to try and make them all the same or similar so that I can compare when I'm changing as expressions. So there we go, and then I can do the other one underneath. Now suddenly life was saying about the same height and width. I can tell because I drew a line down there. It'd be boat the boat is wide. So there we go. As my next blob and then come over to the guys on the sides. About as tall as you can see why I do a bunch of sketchy lines because I don't expect to get my shape right with a first line, just sketchy lines and one of them will be will be close off. Then once I've gotten in my, in my shapes, my blogs, like I said, that companies look like a D on this on its side. Then I go to sketch in blobs eyes. Now, I'm going to do this in all of the characters, even though we're going to change them as we change the expression. Now blobs, eyes are quite far out on his own, his blobby body. Okay, so they're out towards the edges of his half circle shapes? Oval. So they're a little bit taller than they are wide. And I do the same thing on my next blob. Fairly, fairly wide apart, eyes like this. Again, areas and C and I can check that they're conquering. Why does she mean by running my pencil up and down and having a thick if they're about the same places as little further over, but that's okay. But basically have similar enough looking, looking blobs. So let's start up here by just drawing normal blob. So we have signed to compare to. So first thing for normal blob is a blobs pupils. So let's get those in. And like I said, they're a little bit. More towards the center of his body. This helps to make them look a little extra, little extra cute. Versus if I put the pupil right in the center of the oval. So it's a little bit in towards this body. Here, use a simple little smile which is quite low down in his body. If you look at how big his body is, look at where the little smile it's it's quite fairly narrow. It's almost like just a bonus narrow portion of the bottom of one of those odd. So there you go. That is normal blob. So I can outline normal blob. I'm just going to do this in pencil. I'm not, I'm not outlining these in pen. It's just a sketchy on here. Starting with my character's eyes and dark containers, pupils, mouth, and then around. Another reason why it's good to start with the eyes is that I want to get the eyes in the right position. But I can always move the body around a little bit if I, if I need to move it a little bit to the side because it's too close to the eye or something. There we go. We've got our first law. So the normal blob next, I think I want to do sort of a surprise blob luck. Okay, so let's start and get in the look of surprise. Surprised. Now for surprised, when you picture yourself of your surprise, your eyes wide open. Okay, So maybe I make blobs eyes. I just sketched them a tiny bit taller. Here's a tiny bit taller, a little bit lower down, so they're just get the wide and tall are. Also, you'd be looking wide audience and your pupils be straight ahead if he be focused on what you're looking at and surprised by, I take the pupil and I put it more in the center of this oval, like that. Okay. So it looks like he's really focused on what he's surprised by. And then the look of surprise. I can do a really simple mouth. Picture your mouth. If you're surprised. It makes almost an 0 shape. Hacker to a giant open, remember it's blob, he's got a small mouth, so I do a small oh, the other thing is, look, surprise. What if we make we don't have eyebrows when I present blob, I could make because I always would go up. What if I just make his body grow a tiny bit taller? I don't have eyebrows, but I can move around the blobby body a little bit, so it just gets a little bit taller. Now let's outline law and see if he looks surprised. Started with my eyes, name your eyes first. Little bit taller. And those eyes like though, this is not quite so circular. And around the top from just being a little bit taller, you very much. There we go. I think he loves it. Surprised. Surprise by next. Let's do a little bit more. Upset like a grumpy, I'm going to do grumpy blob of ketones have inverter. It's gonna be grumpy, grumpy blobs here. Now, the eyes, the eyes, you can actually, if you're grumpy, it's kind of like your, your your eyebrows come in, right. Like you kind of get a little bit about furrowing your brow, right? So instead we don't have eyebrows, but what we can do is we can ankle for eyes in a little bit. So what I can do is take my ovals and chest, angle them in. Okay. It's as if he's kinda like scrunching his brow, ridges of his eyebrows will come in hope it doesn't happen. But in the eyes angle in a little bit. Again, I'm lacking eyebrows. Because in grump your eyebrows might come down over your eyes, but I can bring his blobby body down. I just lop off. You see that? It's a little curve. Lop off the top of his eyes. It just comes in like that and it angles in. You see just like the eyebrow would just take off the top of the eye. Then the pupil a little bit focused towards the center and maybe a little up towards where this is part of the eye is lopped off. Even angle that pupil slightly in just little things. Little things, stuck pretty angry and then a mouth. I'm going to keep the most simple. It's just gonna be slightly sideways like that. If he's got his lips pressed together like that. And I think he's gonna look, look grumpy. I come in and I outlined his eyes. Seems just move a little bit of that angle in Miami, that too wide hearts. Okay. A little bit of that angle in their mouth around around blob. With this one, I could even have made them a little bit shorter as if his brows come down. I could have Tanaka shorten his his, his body a bit more, but I think he looks pretty angry. Grumpy. Grumpy can be Blob. Let's make him a little bit more playful on this one. So next, I'm going to play for Blob. He's going to have a little bit more fun. So for playful. Now, my character, I want to make him look like he said a little bit of an angle. Achilles smiles a little bit playful, right? So maybe the eyes also are little bit uneven. I want them to look like he's maybe leaning in a little bit. So let's see what we can do. I'm going to angle this I in a bit. If he's leaning towards whatever he's looking at and being playful towards how angle this side as well, a little bit that way. So he's leaning into whatever he thinks is quite fun. I think he's maybe even I'm picturing him looking up, isn't the pupils are higher up in his eyes like this. It looks a little bit fun already. So there we go. And then the bottom of the eyes only have a bigger smile. So I'm moving this smile to the side of making it a little bit, a little bit bigger. I'm going to exaggerate it too much because blob is somebody width a fairly small mouth, but I still want it to look fun, right? So a little bit bigger, a little bit over to the side, and that would make his cheek come up. If you smile, your cheeks come up. So up comes his cheek. So I chop off the little curve up, but the bottom of his eye. So now we feel like his cheek has come up like that. And a little bit on this one as well. Because remember the mothers on this side, so this cheek will come up the most. Maybe the site, we see a little bit higher than this cheek, a little bit so it looks quite smiley. This adds to the feeling of him being Smiley and playful. Now I think I can outline why my blob. Just that little bit of a lien on my eyes. Mussolini into whatever he thinks is quite fun around him. And I could even lean limbs, body or Lulu. Linda's body in a little bit too. Looks quite playful there. Right? I'll play my phone. Playful block. Let's do the opposite. I'm going to make him, he's nervous of whatever he is, whatever you save. So this is going to be nervous blob. So we're going to sit here, everything angled this way towards what he's interested in being playful about here, I'm gonna do the opposite. I can move them away. So pretend he's nervous is something over here. He's gonna kind of move away. His eyes is body, everything is going to move away and even his mouth. So let's start with the eyes. I'm going to take my eyes and angle them a bit away from what he's nervous outright because if you're nervous, you might, you might recoil of it or move away. So both eyes, I'm going to move away. There we go. So both angled a little bit away. And his pupils are still looking over here, right. So they're still on this side of his eye. Okay. So pupils there and his mouth his mouth is going to be it's like he's gritting his teeth. Okay. So I'm going to do a simple little triangle shape like this. And over to show his teeth. There we go. So it's like he's kinda kinda gritting his teeth and pulling away, which means I probably need to angle his body language, his body just that little bit back. If he's leaning away from what he's nervous of, Erica, then he's he's a bottom of his eye. I'm going to take it off slightly. Okay. Because if you picture your grit your teeth like this, your cheeks come up slightly, but I don't want them to look happy like he does here just a little bit straighter. Okay. So his eyes are fairly wide open. Just lopped off of the bottom layer is greeting teeth. And I think I can outline my outline blob. Everything just leans away. The mouth is still small. But he looks nervous. If you need a viewer, drips of sweat. Here's Bobby's. Few drips as sweat happening here. Don't overdo the drips of sweat. When this is, this is nervous or nervous blob. Last, let's make blob a bit hopeful. I think he needs to have some hope renewed after nervous. For hopeful. Picture yourself hopeful. This is an opening, kind of an expression. I want the eyes to feel like they're opening up. Here. We tilted both eyes away. And again here he tells us both eyes toward here I'm going to open up the eyes. It's almost the opposite of grumpy. So the eyes are going to angle out slightly. Angled, slightly. I just changed that a little bit and just have quite a big smile. So I just a little bit more than his normal smile and be like this and make it a little bit wider and a little more open like that. So again, I open up the smile, open up the eyes and ears. He's smiling more so I'm going to show this little cheek coming up there it goes his cheek. And it's at an angle like it's open as well. See that? You see it there. And he's going to be looking up. Okay, It's hopeful. So pupils up towards the tops of the eyes. And even his, his body can open up a little bit like this and make it a little bit wider there. Where his his eyebrows, eyebrows, a little bit, a little bit wider, opens up. I think I can outline. Nice big smile. And around his body. Nice open shape. This is hopeful blob. So I think it looks great. I especially like, I actually quite like nervous blob here looks good as it drips of sweat that add to it, but you can see what we've done. So we started off with our six shapes and I sketched in all the same positions. And then it was just small changes in comparison to normal normal blob. The small changes in comparison to normal blob to make them look surprised, widening and opening up the eyes and the little 0, everything, and everything lifts a little bit for a surprise. So he looks wide open, surprised. Grumpy, grumpy blob, angle the eyes in little bit. Instead of, we don't have an address which is lopped off the top of his eyes and a little grumpy frown. Hopeful blob. He leans in here, and these ones were moving the body shape a bit here. We only change the hours. So now we angle his body in a little bit toward words he's seeing, angle the eyes and a little bit. Move the, move the smile a little to the side and he looks playful, Nervous, a bit the opposite. Move them up and away from what he's seeing. His eyes angle away. Mouth looks simple but gridded in a way. Then hopefully we opened him up, we open up the eyes, we open up the nerve, we open up the shape. And he loves hopeful. So I hope you're happy with your expressive blobs. Now, if you want to give yourself a little doodle challenge, what you can do is draw yourself some more shapes for Blob and do some different expressions. So e.g. you do, do your two lines again and you're six shapes and irregular blob. And then maybe try say, you could do like shy blog, you could do thoughtful. Maybe he's thinking about something. What about a lonely blog or a sad blob or scared? You could try some of those different expressions and just changing eyes and mouth and have some fun maybe changing, moving a shape around to see you in the next exercise. 9. Mood Monsters: Now that you've seen how you can really change a character's expression by how you draw the eyes. We're going to move on and we're going to focus on how we draw our characters, eyebrows, and mouth. For this one, we're going to draw monsters. And they are terrific for this exercise because you can really exaggerate how you draw the eyebrows and the way that you draw big fun mouse. Now, this is another sketchy exercise. So all you need is pencil and paper, and we're ready to draw our six moody monsters. Before we begin, let's take a look at this one little character here. Now, I've created him using a basic circle shape. And then I've added some simple eyes and then a really big mouth and some eyebrows. Because we're going to focus on changing the eyebrows and the mouth on our character to show different expressions. And then the rest of the character has gotta be kept, kept quiet simple. Well it's just jaggedy J. Lyons. Okay, so that's what we're gonna do. Now. I want to choose a shape. So all I've pulled out this one, the teardrop shape. This could make quite a good monster. I might make a little wider though, but that I think it'd be good monster. So let's do that. The first thing I'm gonna do is sketch myself in two lines, okay, so two horizontal lines across my page. Because I'm going to put three characters on each line. There we go. They don't want to be perfect. It's just to help me line them up. And then I'm gonna give myself my first shape. And I do that in the center of my page. So like the blog, I start in the center drawing my shape because it's easier for me to judge where the center of the pages versus starting on one side and then spreading them out. Okay, So here we go, center of my page, There's my first teardrop and I do another one over here to here. But the center and then decide, you know, what I'll round is going to be should be good. Then I can come over and do my teardrop on the side. Remember lights sketchy, sketchy lines will press too hard. It's sketchy lines. Again. Sketch that in the end they don't have to be identical, just similar, similar. The other side, sketching your shapes. Again. Alright. Now, the next thing I want to do is getting my eyes for my character. Alright, And what I'm gonna do is I'm going to give two circles on each of these shapes. They're going to be fairly high up in the character's head. Okay? I'm going to do them a little, a little game asymmetrical, okay. So one's a little smaller, maybe one's a little bit bigger, a little bit on an angle. We can draw them however you like. I'm going to give them, like I said, approximately the same on each of these characters. So there we go. Again. Here we go. If I'm trying to keep this up, somebody lights and run my rent my hand along to make sure I'm getting an approximately in line. We might move them around a bit as we draw, to draw characters, but it's a pretty good, good stuff. Alright? So for the first character, this guy here, I want to make him a smiley, friendly kind of jelly kind of character. For that. I'm going to start by putting the character's mouth. I want a big smile and I'm really going to exaggerate this. So what I could do is do a smile like straight across his body like this. But I have what I think I'm going to do to make them look a little more. Jolie and friendly is actually draw my smile a bit sideways is if we're seeing him like from the side and mouth goes off to the side like that. And off, off the page becomes comes up quite high. There we go. Because it's a very wide open mouth. I'm also going to show my characters tongue. Alright, so to do that, it's just either, either half circle or two half circles. I want a little bit like that. Then it looks like we've got big open mouth and we see the tongue. I'm gonna give them some teeth because he is an artist herself. Few little pop, a few little teeth in there. Maybe, you know, maybe just a couple of teeth and three teeth at the bottom for four, however you like to do them, or maybe you've pointed teeth, whatever you like. So There we go. Then the last little thing is. Because we're seeing it from the side and we're seeing just in his tongue there. I'm going to show the inside of his mouth, right? So there's a little line there you see? And then this will be, this will be colored in. Okay, so it's if we're seeing the dark part that's inside his mouth because it's wide-open that I want to come in and have a think about my character's eyes. Now he's a friendly ones. I'm having him he's looking at me and he's smiling. So I'm going to put his pupils fairly close together, not super close. Got a fairly close together in his eyes. It unless if he's looking at me, they may be a little bit a little bit on the diagonal, so not perfectly straight across. And then the next thing I wanna do is I really want to add to his sort of happy, friendly love. When you think about it, if you just saw a friend or something that you really like, your, your face would feel open, maybe your eyebrows go up and you smile. So let's do that to him. Got the open mouth. Now let's do the wide open feeling. Eyebrows. Eyebrows are quite high above the eyes. Open as in they're not they're not straight across his eyes like that. They're there. They pushed a bit further out to the sides. Okay, so there we go. And it gives him the feeling of sort of happy excitement and friendly. Then all I do to finish off my character is given some crazy kinda jaggedy around him enough, That's it for him. I could add arms and I'm going to keep my characters just like this. That's him now I can find him. I'm just going to do this in pencil because he's such a sort of a faster kind of drawings. I'm not going to be inking these. They're just sketches to see what happens when we change eyebrows and nails on characters. Just checking lines that will give us his refill. And then what I'm doing his mouth and the first thing I want to do are his teeth DC because they're in front of his tongue. I dropped in front first group, the crocodile might actually add to his character. Then I do the tongue, and then C. Lastly, I colored it and give a little, little shade. Okay, so I darken in the back of his mouth. I just stopped over there. So there it feels a little bit like he's sideways and he's friendly and smiling at us like that guy. Alright, Next, let's do a bit of the opposite. Let's do someone who's a bit, I kinda like angry, like a fierce looking, fearsome looking roster. So opposite friendly, fierce. Now we've got the same places, gay. So what can we do with these? Now, if the character is angry, it's gonna be looking again straight out at me, but with a more kind of ferocious a look. His pupils, again are fairly close together. Okay. Because he's focused on me, say, and then his eyebrows are going to be down in this sort of shape. Isn't his brow is coming like they're in an angry looking right here. I give myself some angry looking at eyebrows that on an angle, decide how big they are. I could eat them like fluffy ones. I'll give them simple like this. I've done them a little bit curved in on an angle like that. Now what's next? I need his big mouth. Okay. I need so I want a big, angry looking mouth. He's kind of going like opportune boat. Like he's making a sound and almost growl and kind of hat we were just looking at. So that's going to be a big wide open mouth, right? So it almost is the shape of like a like a jelly bean is where the sides of the mouth come down, sides, the quarters, or have it come down. And even here like maybe these are the memorial up, these edges here or down. It almost looks like a like a bit of a bit like a dog bone, doesn't it occur? Very curved dog bone. Then I'll definitely want to give this guy some teeth. Okay, So maybe that'll make him look extra. Some really big teeth 2009. And pointy ones. Really draws attention to his angry looking mouth. That looks quite good. And then we need his home, his hair okay. For years. And I think that's it for your help on. So starting with the eyes, I want to make sure that I capture that I can even make it not look good. Then onto the eyebrows. They're really key in characters that, that's angry like this. Then there's mouth. Can do that next. And its teeth for this character, I mean, you could show his tongue. I'm not going to, I'm just want to show the teeth because I want to show the contrast or the difference between the white of his teeth and then how dark is his mouth is, right. So then I would come in and darken in shading in behind his mouth. This will really draw your attention into the expression of his mouth, which is very angry. And the pointy teeth. They even did a good job here where our ankle, even the side teeth. So it all looks quite ferocious like you wouldn't want to encounter this guy. And then, oops, I just knew his little crazy, crazy for maybe I'll make it a little extra jaggedy for him. See look more ferocious, I hope so. There we go. Fierce, fierce. See it looks quite fierce. Now next let's do, let's do character who's a little bit, I'm picturing, lonely. Okay, So we've had friendly, we've had sort of angry fears. Now let's do the only character, okay, So this is sad and lonely. Okay, here he is. So we've got our eyes, just like the other character. For these ones. He's sad, right? So I want his pupils to be looking down at the bottom of the eye. And they're a little bit in towards the center, not too much, a little bit. So he almost has like a worried and sad looked like. And then for his eyebrows, I wanted to look at that. So instead of here where we had the eyebrows high up above the eyes that he's friendly, open and excited. Here's the opposite. Here the eyebrows are down. The curved this way. You see curved in there down over the eyelids. His eyes, I should say, withdrawn eyelids on here. Down over his eyes a little bit so it covers them a little bit in the curved since we almost looks like sad and worrying. Then for his mouth. I'm going to keep it simple. A very simple, ever so slightly curved down line. So it's not a big frown is just maybe a tiny bit more. Just it's just a little sad curve and I'm going to do even his teeth. Sharp teeth too, but there there's down in okay. So everything about him down and then we have is 0. I could even maybe it may even flop over his first so it's down. Okay. It's not spiky like this. It's going down, down, down, down. And I could even make his shape a little bit more. Maybe those There's malt street art By the Side, moles, repeat whatever. So everything's, everything's about him down. Okay? Now I can hit one this character with his eyes and then make sure that I get the pupils in the right place where I think they're going to need to be for him to look. Lowly. Eyebrows. Then he's sad, mouth flops down his flock donors for their use. Sad and lonely. All right, Let's, let's do something a little more fun after sad and lonely. Let's do like a joker, someone who is silly. This is gonna be silly monster. For silly monster. Again, I've got the nicer eyes that are a little bit. And I could maybe even exaggerate that a bit more than I should be fine for the pupils you in this character is focused, had these guys are all focused head, he's looking down. This character is going to be looking every which way. So one pupil looking up, one pupil looking down. Like our, our silly, silly jumper. There we go. That's good. I'm darkening my pupils. That's actually, it's quite a Credit key feature of a silly looking character where you put the pupils. So next, I need eyebrows and I have the eyes uneven and the pupils that even, let's do the eyebrows uneven as well. That should exaggerate things. So what if I do one eyebrow up like, whoo, like this one I wrote up in one eyebrow, maybe a little bit over uneven. That look a bit silly. Starting to, I think what we'll do is his mouth. And again, I want a big mouth, but I'm going to do kinda like wonky, kinda curvy, curvy, crazy mouth like their study look silly. I might bring it up quite high by his cheek. So play around with it. So what you decide what you like and maybe they should be his tongue, she's tongues to go with his tongue. His tongue twister go. Tongue sticks out and I couldn't the teeth, I'm going to leave it. I think there'll be fine. I think you'll be alright. And then of course he gets his kinda crazy, crazy hair. Brushes thick. Outline this guy. So finish off my eyes and eyebrows there, but all over the place, That's good. Funny smile, tongue or put a line down it just kind of exaggerated. I can maybe student has hair stick up all over the place. Should that be making a little extra, extra funny-looking with crazy for this variable. So that's good. I like him. That's our ciliate joker guy. Now let's do someone who is, maybe this character is seeing this guy and he's, he's a bit scared, okay, I'd be scared of I saw him two are fierce character onto scared. I'm scared. That's again, we come into our eyes. So I've got a little bit again and they're asymmetrical eyes. Now, if the character scared, he's a little bit like this where his art is, pupils are going to be together because he's probably a little bit, He's a, he's quite afraid of what he's seeing. So pupils are looking ahead, looking at what he's saying and afraid of. And they're going to be a little bit more in the center of the eye. Now, the character's mouth, I'm going to do that. And he's sort of going like I like his mouth is open and I'm not sure if you're scared. You must be quite open. Quite open. And maybe a little bit down at corners. Basically the differences here is like his his mouth comes up in the front end to end down. Okay, So it sounds like he's grappling with this character. Just down almost a much more. Select the shape of say, a banana or something. Oh, very wide banana, I would say but a banana. So there we go. Down at the edges, up at the top down those corners. I think for him, I will show his tongue. So I'm going to show a little too little curves now. His tongue and make just a couple of teeth are not going to leave and maybe make them square teeth though. A few little fuel square root, I'll give a couple of bottom two. Don't even think that I should look good. Now, eyebrows, eyebrows, I needed to look a bit worried here this character looks sad and a bit concerned. Here I still, I'm going to just similar where the eyebrows curve in except there gonna be higher up above the eyes you see because like almost like our happy, excited character, the eyebrows, the eyes are open, the eyes are open wide except in this case, he's, he's scared, right. So the eyebrows curve in and they're a little bit closer together. Okay. So not so openness. Those ones are they close together because he's also, he's worried, he's afraid, right. So there we go. Just notice he looked quite scared, I think so. Maybe what do I do with his firm? Does it all kind of stick out like this? Maybe it sticks out like I think he looks scared. Okay, Let's hope low in the sky. Eyes. And he's worried for wide eyebrows. Mouse. I almost feel like I've made this a bit bigger than its teeth. I'm just going to imagine his top teeth like this. And I hope couple of Bach and look up one teeth, then his tongue. And then I would color in my reading listening. Which case you'd be thinking you mouth. Because that is a big part of this character's expression. Is that the shape of his mouth. Crazy, right? I think it looks scared. Next, I'm going to do, I think like a sort of a baddie. Okay. So this is a, this is a, he's a, he's a body of evil. So sly, like he might be getting into trouble and he's up to no good this character. That's what I'm picturing here. So for that, we're quite fortunate we've got these eyes that are, again not symmetric, so we can put those to use for us. And I think I'm going to do him so that perhaps he's like He's going to be looking because he's gonna be looking as if he's got he's sort of glancing over the corner of his eye like he's, he's up to no good. So here he is. So that means pupils at the corners looking save this. So he's looking over here. Pupils right up in the right upper corner of those eyeballs. Then his eyebrows. They're going to be they're not, they're not going to be symmetrical. They're going to be asymmetrical two, such that there's one a little bit like the evil one like on an angle, right? Because he's a b is a bit up to no good. He's about here. So there we go. One I wrote it like that on an angle. So it looks a bit. But then I wanted to look a bit suspicious or a bit of a baddie. So he's going to have one eyebrow That's kind of up up like this above the sky as if he's appearing up in this, exaggerates this bigger I that's pairing up. There we go. That's quite good for the eyes, for SLI. Do a mouth on him. That's, again, it's a bit of a mix. So it's going to go a little bit grumpy looking there and then he's now it's going to curve up until a little bit of an evil cackle like hahaha, like this. So it's comes up towards the thigh, goes back down. And then I give it a little half circle to open it up and I can live. I'm going to put my little teeth in there. See. It looks a bit like then I can make my flop his hair over. Hiding behind his lost her hair. Lots tougher for him. Just regular kind of multi-story for I think it'll be fine. I think I can outline this guy starting with his eyes, pupil right up in the corner of this of this eye. The next bigger I people higher up eyebrow. Okay. I can come into his mouth. His little Sharpie teeth. Then again, I'm going to color in the little bit of his mouth open just to draw attention to that. Anywhere where you're drawing your color. And I should say in dark, larger space, you're going to draw attention to that in your drawing. Alright. There are our six moody monsters. I think they all have very different nodes. I'm pretty happy with them. And so let's have a look at myself, look back. So all of them have quite big mouth. But we've only done three of our characters with really wide open mouth, all different expressions that we've got our friendly, happy guy right, drawn to the side and was quite an open mouth, really draws attention to that and him. And then our fearsome angry character. And this really draws attention to the shape of his mouth. And then our poor scared guy, Oh dear. Then the only other one that we will show a little bit of contrast is our SLI baddie character where we draw attention to this little snicker that he's getting at the side of his mouth. And our other two characters, they're really portrayed a lot by this are lonely characters, sort of downcast eyebrows and then our silly ones like the pupils, pupils. And then this crazy mouth that really make a big difference on him. And he is a funny little eyebrows that are every which way. So there you go. I hope that gives you an idea how you can take one simple shape, the same types of eyes, then really changed around eyebrows and mouth to give your characters are really different expression. So if you want to give yourself a little doodle challenge, here's what you can do. You can try drawing more characters and you can do something else like maybe you want to draw, maybe you want to monsters again or maybe you want to do something else, maybe on another, another simple character. But you can try and do them with the expressions like we did in blob. That was surprised, grumpy. I think we have nervous, playful, and hopeful blog with the expressions by changing his eyes. You can do the characters again, but change the eyebrows and the mouth to make those expressions and see how that goes for you. Alright, see you in the next lesson. 10. The Big Find: We're going to draw our first cartoon theme is called the big font. We're imagining that we're archeologists on the site of a big excavation and we've dug out some amazing treasures. What we're going to do is put our expression capturing skills to test. We're going to draw a whole bunch of archaeologists, each with different expressions on their faces when they see what it is that they've uncovered. This is gonna be a great exercise for you to start to see how you can really tell a story. By the way, you draw different expressions on each of your characters. For this one, you're going to need a pencil and paper. And I'm also going to outline my cartoons and a black fine liner. You can do that or work entirely in pencil. It's up to you. I think we're ready for the big fight. We are archaeologists on the site of a big ****. So we need to picture what's happening. Do we discover any treasure? Do we dig up any bones that's supposed to be a little skull in there, maybe some ancient pottery or do we uncover a two? We're going to pitch, what are archaeologists are doing? We're going to focus on their faces, on using our ability to capture expression, show different types of facial expressions on our characters. And that's going to help tell our story about what's happening on the side of our big find. Alright, so let's get started. Now for this one, I will be outlining in, in black fine liner. But I'm going to start sketching lightly by getting in the start of my big **** because we're doing our first scene. I'm going to start by setting the scene. So what I'm gonna do is draw myself a little, little bit actually, this is my big, big Nicole. Okay, So this is the this is the dig. So what I've done is giving myself a mound over on the side of my page. And then another one down here? There, yes. Okay. So a couple of curvy lines. And this will give me somewhere to set my characters. Alright, so my first character, I'm gonna do right in the center of my page on imagine that this is the character who's dug up. Maybe he's uncovered like a, like a crown or something I really great treasure. And all of these characters, I'm going to draw them super simply. The focus is all going to be on their faces. And we're drawing people here. So this is a little bust, a little change or drawing, drawing people. And I'm going to start my first character, but drawing in a circle for my character's head. All of these characters are gonna be made of circles for their heads and little squares for their bodies. Alright, keeping them really, really simple. So here's my first character. Surfers had little square will turn into my character's body. And then I'll give them a couple of little sticks down. Those will be his legs in a little sticky note here, that will be his arm. Stick down here. Like characters. Other arm, the arm picturing this character, like I said, as he's uncovered, you can get creative. You decide whatever you want. I'm going to give him a nice big He's just dug up a crown. It's like ancient crowds. Jewel on top of it. You draw whatever you want right there, okay, and this is what your characters. First character is uncovered. This character has got, he's got lovely jewel. Maybe it's sparkling away. And my character is going to be excited. Alright, we've done excited character before and happy and excited, I should say. I start with first thing, my character's eyes. So two ovals, fairly open from a character's eyes. And this character, the coefficient I'm looking up. So say they're, they're looking up at another character over here. I don't know who that is yet, but looking up their pupils Like up and looking over a little bit to the side. Like I said, this character is smiling and happy, okay, quite excited. So I'm picturing that there got a big smile is good that in urine is, remember just like we did before. Oftentimes it's good to be an open mouth smile because my small, good to make the smile a little bit off to the side because of characters looking over here. So I've got this smile a little on the side of their face. They have a go and the cheek has come up, right. So there's the cheek like this. So maybe that means that the cheeks come up into the air by their IRAs. Curve there because they're smiling, cheeks come up and it crunches your eye a little bit. So that's that I just got my character super simple knows it's a little straight line and curve. Then that's often quite good. Now I need to turn my character into an archaeologist. So we've forgotten wonky thing I've heard on eyebrows. What did we say? Eyebrows, eyes and eyebrows. Eyebrows for our happy, excited character, are up above the eyes and open. So maybe go up above the eyes and open. Now I'm turning into an archaeologist. So I'm gonna give him a hat, oval shape above his head, another little half circle on top. Does that look like a archaeologists have? And then I'll just fill in the rest a bit like IRR are monsters give him some hair, scruffy bits of hair, little zigzaggy lines. I think got what it looks like. I'll answer first. This character, the rest of them. I'm keeping it really simple. Little, he's got a belt on, right? A little couple of little triangles there for the color of his shirt. And I'll just thicken up the arms and legs and give a couple little oval to be his feet. Tiny ovals or as V. And when I have character here, it's, I haven't done his hand yet and he's holding the Crown. Do is give a little a little curve around there and that's his thumb hooked over whatever he told them. Okay. So there we go. In the other hand, maybe he's set down his tone, his shovel. So I do a little circle, full circle for his hand. Little triangle there, and that's a shovel. Straight line. There we go. We've got our first character. You don't have to put a shovel and just handy, you can just leave it or you use another idea for what he could be what he could be. Holding. There we go. I keep that all simple. Okay. I keep it in the shapes that I initially drew in. I just thicken up the lines of the arms and the legs a little bit. I gave him ovals for feet, little circles for Heather. Certainly there to be his thumb. That's my characters and she was teeth that I wish it was D. So I'm ready to outline this character. And I can always try and more details into the characters. You know, this is lovely crown or whatever. But the most important thing I want to capture my character's expression. So in, into his eyes, eyes, I outlined those eyes, looking at locking locking them in a little bit there. Okay. Because it'll draw more attention to his lovely open eyebrows. I'm down to his mouth. It's a little bit open. We see its teeth, right? And then I can do He's little scruff, my character's hair. I can give them an ear. I've given him an ear there and then around his face, around my character space that I could give him a neck and do that. And his hat, which is remember, remember your shapes, oval. Oval. One more line. Then little details like maybe there's a little vents and the Tat or something. And then down the rest of my character, keep these shapes simple. It's got a belt on. And why we said that archaeologists have to wear a belt. Ovals for thumb on the, on the crown. Little shovel. And then remember it's even the shovel is built out of shapes, okay, it's a triangle for the handle, straight line for the for the shaft of the shot, and then a little rectangle to make it look like it's set into the sand. I just do a little curve at chop it off and make it look like it's set into the sand. Then here's what, here's where you can have good fun. You can probably come up with a more fun type of a design for a crown than me, but I'm Patrick there. Jewel, maybe he's got some other another line across it on another another big jewel there. Okay, there we go. We've got our, we've got our first character. Now. It's time to pick up my pencil again and decide on my next character. So I have him, he's looking up at. Something. Okay, so I'm picturing him looking up at his, his colleague up here who's maybe something else is, something else has happened here she is. And I want her to have a different expression, the name, so she's noticed something else. Perhaps he's on, he's on a mount here, perhaps at the same time, suddenly else has got to stick a tomb. There has been a tomb that's gotten opened. So all I've done is I extended this little line here. Remember you can place them wherever you want in your drawing. Feel free to play around with it. And then I draw my next shape. So it's just a square, but of course it's hidden in the sand, so lop it off. Then maybe the tops come off and sliding off. Another rectangle. There's the top of the tube sliding off. And maybe there's a there's a little ghost, your spirit kind of him coming out a few areas. That's gonna be my spirit. I should write it with a proper archaeologists had on him theories. This is going to be my spirit. Okay, So this is where you also get creative. You're RB1 dry, a ghost, spirit, halogen, really simple. So overlies and oval mouth barriers. This character, she's, she's scared by the, the spirit. And he's, he's looking over, he's not paying any attention. He's looking straight over to his colleague, friend. So there we go. There's, there's the next character that I'm starting. So same thing, circle for my character's head. Light and sketchy. Okay? And now she is going to be jumping back and she's afraid of this ghost. So I've put on the little square for her body. Remember too little to little sticks for her arms and legs. Legs going to be out. She sort of jumping back and in her arms out. She's like she's a, she's jumping away from this spirit character here. So her expression, It's surprised and scared. Alright, so wide-eyed. So I start with circles for her eyes. Okay. Circles for eyes and making them round open. And she's going to be looking over at him so that pupils needs to be a little bit over. So she looks like she's looking at the Spirit. Then we need her mouth. So it's going to be a bit like a brian that the way to the scared mouth of the monster. Do this one little bit different. It's somewhere if it should go down a little bit of corners, but it's going to be a bit wavy. Little wavy. So she's like that. It gives you the feeling like she's she's trembling and unafraid. There's her open mouth, which is quite scary, Ashley. And I'm going to give her wanted to see her tongue. Okay. So it's gonna be open mouth and we'll see her, her tongue in there. And he said give her a little they'll nose, straight line, little curve or IV like to do it. And then we need her eyebrows. Eyebrows are gonna be gonna be up above her eyes and a little bit, maybe a little bit curved in so that she looks worried and scared at the same time. Okay. How's that look? Good? And I can give her give her some hair wherever the style of hair you think my little well should make her hair fly out a little bit. That will add to the feeling of her being scared, maybe her hat and use your house, perhaps flowing off of her. She's like she's jumped back and off goes the officer hat. Let's just an oval, remember, same way over. And then another curve on top creates my, creates my half, literally fly off. Little lines like that. Alright, now I just finished off my character, her body, so I just give her a few triangles for her. Color of her shirt and thicken up her legs. The legs ovals for feed. Because this y so she looks like she's tipping back. There we go. Then her arms the arms little circle on the end and her hands are like the open like she's jumping back, right. So she's dropped everything on top of the circle. I just do some little ovals and so she's open hands. So those are the society, the sleeves of her off her shirt. What I think I'm ready to outline her and I can do this. This is a spirit He's gone is that archaeologists have up to a wash. So afraid. I'm going to outline these characters. Okay, That's my next thing. I can ink them. And again, you don't have to be drawing with ink. You are, you can always feel free to do everything in pencil. Line, tie their shoes. And her worried eyebrows. That are above her eyes and a little bit. And here's her open screaming mouth are blocking that. You ever some pair and now she's jumping back. So we're here as a bit a bit all over the place around her face. And then I could go down the rest of your body. I give her neck. Gosh, do that. Right? I keep all the rest of the lines quite straight in plain, simple shapes for the rest of her. Remember the hands? Just think about the hands. Shapes as well. Okay. Just outlining ovals around what we're little circles for her pause. And then a few other details where we can put in whatever the details you like. I think, or have fallen off his political stripe. Falling off. And I can do the, here's the spirit guy. Probably quite fun if I put some like hieroglyphics are sort of ancient, ancient writing on my, my two more feeling like a tomb. But I think that's good. I think that's good for now. So details I can always put in afterwards. He's got a hat and I can also ink in this part of the hill or do that. She is but she's on okay. Because I'm finished with that section now. I'm not going to ink this and just yet because I haven't had a couple of characters to go in and I don't know, I want to go here, but what where's the other one I'm gonna go? I don't quite know that yet. So I'll stop there on that. And only one thing I did say is I would would ink in her mouth, so we draw our attention to that. And hers screech, or she's forgotten. Alright. Now next, I'm going to do another character. Maybe they're up here. I have a pretty good space here. Remember, if you are trying to lay out a bit differently, that's alright. You can always move things around to character up here. And let's say she's just uncovered ionosphere is uncover some sort of a little crazy like a like a little spirit kind of guy there he is. Okay. Don't worry if it sounds like you would a okay. So this character, same thing, I begin with my care circle for my character's head. And I keep it sketchy. So if I need to move it over, I will. Alison decided, and it's hard to be a little bit closer to this character. Square, whole square for her body. She is, she's sort of leaning forward and I think I'm picturing her like brushing off. She's brushing off the dust issues uncovered this little little character here. So there's a stick for her arm. She's flicking a brush. There's another stick for this is the brush. Okay. So the brushes that a straight line and that's the brush on the end, a little square, building everything out of shapes. Now, I need my character's legs. So the little, little bent, she's she's kneeling. That's what she's like. She's she's kneeling. So two little bent lines there. Then with our other hand, maybe she's brought it up to her face because she seems like she's like she's going to be surprised, not scared. This character is so very scared and spread that she's just going to be surprised by what she's just uncovered, brushing away here into a character's face. So first things, first, eyes are red and these are going to be a little bit taller here. I hadn't very round, wide-open eyes here. I'm putting a little bit taller maybe for a little variety. It's the same thing I'm picturing her as being like mood like she's she has simple little mouth. It's maybe like oh, okay. So did the same thing with her eyes. She's wide-eyed, looking down. So pupils looking down. What she's discovered. The simple little nose straight line, curve. I can draw that again however you like. Alright, now, oh, she's brought her some of them thinking she's brought her her hand up to her mouth, right. It's just kind of covering covering her mouth. So same thing. I do a little circle where the hand is, where the palm of the hand is, and then she's got a little overlies for her fingers. Okay. So that's it. Really simple. And her other arm and we've made it a little bit long here. I'm not short enough. So I put a circle where her hand is an inch or her hand and move it closer. He says, is this brushes brushed off, rushed off his character. And then I can give her her given her belt and her little thicken up her legs and her legs, they're going to give her little ovals for a fee. Just keep that simple. And iPhone was ignored. Her eyebrows and her hair. Let's get that in. So eyes are wide open here. So eyebrows are going to be up, up above the eye. So it could possibly be a little bit, a little bit open to us in a little bit more too, besides, I play around with those of it until I feel like I got the right expression on her. I think that's that's pretty good. Let's give her what can you do it now you draw on whatever kind of hair you are. Going to give her a hat to be really close to my page on there we go. We should put just sneak her hat and I didn't find that true. Well, here's her long hair. I'm going to make her hair. Here's your shoes or hairs tied back and show ponytail. Alright, pairs of hairs, and here's her ear. Ear, and our Harris tie back in a ponytail. And here's maybe this is a grumpy little b, little, a little character that she's stuck up here. You can draw whatever character you're like. Alright, now it's time to ink, okay, time to ink this. And that led to my last little character down here. So I have about that. But first things first, I come into her and I ink her eyes. Okay, I want to capture those tall and open. Surprised. They would go for the nose and a little open 0 for males. Sometimes. Small and simple mouse can be very effective. So we see her expression just, just really simple, simple, simple pictures. Now I can go around her head, okay, So I get her it or herring. You don't have to draw it here. I just draw that in a ponytail. Perhaps I almost didn't fit on. Just sneak it in. And then around her face. And remember, I need you to be careful if you've drawn the hand up at her face like me. You have to be careful because week after stop inking and then come back to it, right? So there we go. The rest of the character. Keeping it simple. Here, I've got her hand, her hands on this brush. I'm just drawing it very simply as a circle. Okay. So it looks like her fist holding the brush that I just gave it to me and I haven't been making it a little curved here. So it looks like maybe she's like flicking flicking sand, sand flying off the end of her and different brush. Then the legs and simple little ovals for the beach. And of course I've drawn my little character who you can imagine. She could uncover anything. You draw whatever you like there. And now I've finished off this section. So again, I can ink in this part of my DIG, okay, now I'm ready to decide what characters are going to happen down here. So I'm going to get in one more character and I think say I've got a bit of an awkward space here and then I have something over here. So I'm going to get a character here. I'm going to draw on a circle for these characters. And I need to decide what they're doing. I'm thinking maybe maybe pop their head up. I would have like a whole okay. Maybe there they're down up there, down a hole and they've they've just brought out maybe some heavy at maybe a skull and maybe it maybe some bones here. She's she's just found, dug up a bone. Circle again, same thing, circle for the character's head, little square for the body, okay, here it is. Then I draw an oval shapes, then oval. So that's her down in him. I told him about my character down in the hole. Chop them off. Little sticks. But my character's arms a little circle around whatever it is he's, he's discovered it should he holds or maybe he's holding in his hand. I give him a little circle first hand, he's holding a maybe a short, little short little shovel. He's got from areas small little shovel. And he's looking down at his what he's dug up. And maybe he's disappointed by this or take, but, but politically is maybe he's, he's pleased by this. Dude, we do disappointed, so his eyes are down. We did this a little bit like a somewhat like that. The loan, the character. Pupils lower down in the eyes, looking down, maybe eyebrows that are a little curved in and down on top of his eyes, right? So he's a bit disappointed. All he's got is a bone, has got a crown. Simple nose, which is a curve in a straight line. And then look how simple this mouth is. Just a little dash mark and it's a little bit downcast, little bit down. So it's, it's a, it's not a huge fan, not like our moon Wall Street. And it's just a little, I think that I've got a pop on his hat in their houses. Probably angled more like this. Okay, So oval oval forest hat, top of it. And give your character some some hair. So it's various, Oh, I forgot his color of his shirt. And their weight is down in the hole. So I can ink this character and all the little bit of space here. I think that i'm, I'm gonna go with the theme of the bone. I'm gonna give myself a, maybe a skull here. This is this sculpted. Chattering away to him being like why you've talked about my bones. Circle for the skull, circles on top, circle for his nose. From the same things. Just go down in down in the sand, right. Maybe pop a couple a couple of bones. Bone or to popping up. Popping out of the sand or one on the ground. Okay, I can ink this now. Beginning with my character and again with my character's eyes. Okay, so that's all I want to talk to. Those first MUX. Quite sad part I. Pupils down. Simple knows what medicine in a whole new era to like. Add a neck as I go along. There's his shirt collar. I have forgotten my characters. And then the rest. I keep simple. Just simple little circle for the characters and not worry about it. And same thing on the other arm where he's just holding his little shovel. That's made out of shape. So same thing, just build build it up at a shapes. And he has to his belt and he asked her down into various down in the hole. And my very last bits, which are my skull. There we go. We've created our first cartoon. So I hope that gives you a good idea of how you can use your skills of a drawing characters with expression to really tell a story in a scene. I can go ahead and do some more details here if you like, you know, like e.g. I thought My God, who probably look quite good if I colored in some little bits in black. My spirit character could have maybe something. I don't remember it, some hieroglyphics on them. I don't know what these look like. Hieroglyphics on my side of my two. If you like what you can do. If you think your picture, you may want to spend a bit of time and then color it. And if you go into color and you're going to heat, remember the thing about racing off your lives? I start off by race and off the first character that I drew it because now it's gonna be dry. I hope. I'll be trying and then they go along to my, my next character. So I want to give the rest of it good amount of time to dry. Especially where I've done a lot of coloring in a black. Because sometimes that takes longer to dry her with her. Whatever it is, crazy little characters that she's, he's dug up. But you can see that by using our shapes and focusing on the character's eyes, eyebrows, and mouth. We can draw very expressive seen. The characters. All of them were constructed the same way. It was a circle and a little square. So they all start out with the same basis. Then you can really change them up. We did that in some other other, other little challenges like putting your characters in slightly different positions. Or a little girl who does, She's almost toppling over and he's standing straight. So here's our first one. This first one we did then the kneeling down character. And then here we look. We just dropped him off and stuck down the hall that look good color too. So I hope you had fun doing our first card. And I'll see you in the next lesson. 11. Ninja Master: It's time to put our characters into motion. We're going to be drawing Ninja master. This is where I'm going to show you the basic way of taking simple stick figures and turning in Jewish characters like these ninjas that are jumping, munging, and stroking all over your page. You can use this technique, withdrawing all kinds of different characters. All you need is a pencil and paper. And I'm also going to outline my characters in a black fine liner. You can do that too if you want. Alright, we're ready for ninja and master. This is going to be a fun one because we're gonna be putting our characters into motion. We'll start off by drawing this character here. Then we're going to add a couple of more characters on the side. So if you have a little look at this ninja, there are a couple of features I want you to notice. First of all, ninja, we're going to draw them and they're wearing a mask. Their face is covered. So all we got to show where their eyes, alright, so that's our expression. Some come from there a little bit, but most of it comes from their motion. And we're going to draw these characters using stick figures. And I'll show you how to do that. A couple of the things about ninjas you might notice is they might be wearing gloves. I've got my character wearing gloves. I've got my character has got a sash tied around his waist and then he's gotta sort of slightly baggy trousers on. And what else? Well, he's got two swords. Sometimes they got tattoo sorts of themes. And you can see the little ties from my characters mask flying out the back. Okay, so those are a few things to notice about ninjas. Now, grab your pencil. Let's get started with our first ninja. Who will be this character? Alright. We're not going to color in, but we will ink Kim. Just start with, the first thing I'm gonna do is start with a shape. As always, I start with a shape. I'm drawing this first character in the center of my page. Now I'm going to leave space on the either side for the other characters. First character here we go, circle for my character's head. And it's about a third of the way down my page because I need space on that a little smaller because I might need, I will need space for the swords that are above my character's head. And so that's first step, circle for the character's head. Now I'm going to sketch in the rest of my character as a stick figure. So not a shapes but as a stick figure. And what I imagine is a straight line down. This is my characters spine. Remember, all of this is going to be covered up what, when we ink it. So keep it, keep it light, keep your sketching light. Little line down as my characters spine. Then this character, he has both arms out, straight out like this, holding the two sorts. So two sticks out like that. As my character holds holds the sorts, sorts are going to be up there like this. You might make them, makes them straight. I'm doing one slightly curved like that. So I sketch in approximately where I think those sorts are gonna be an admin. I look at my home and I made his arms a little bit short for swarming out, bring it in, little bit, sort of play around with where it is. I'm happy with that. I'm happy with that. Okay. Next or my character's legs. So this character, you can have them both straight out. I'm gonna do one leg bent. Okay. So it's like he's got one leg bent, one leg out. Diving, diving through the air. This, this ninja. Okay, good start. Now, to get another feeling for how my character is positioned. I'm going to add in my character's feet, just like we did with the big five, but we were drawing our archaeologists. I'm going to keep, these is my character's feet as simple little ovals. Now I'm picturing this character has got this, this foot flexed, so it's up like that. This one out maybe maybe a little bit down or you could make it pointed. I'm going to keep it like that. Let's go there. Now I'm going to come in to my character's hands, okay, and I'm going to keep this as little circles. Now one thing to have a look at is that to feel as if you're, to make sure your characters the right proportion or feels like the right proportion, is to see that your arms, your characteristic arms, are about the same length as your characters. Stick. Legs might be a tiny bit shorter, but there we go. Then I check that and then I put a little circle on the end to be my character's hand. Alright, we're gonna keep the hands quite simply not going to get much more complicated than that. Now we can start to turn this character into a looking like more of a ninja. So first things first, I'm going to come in and draw on my character's ninja mask. So about a third of the way down my character is circle for the head. I'm going to give a little curve there. And that's going to be the opening of the mass and another little curved down below. I might curve it up is if it comes up over his nose, I could keep it straight is whatever style you want to draw. So this is where you start to be creative in your own style of doing things. There's the start of the mask and then he's going to have a little tassel is flowing out the bad wolf that's part of his tie, I should say from his mask and say I draw it like a little swoop, you know, and again, do it, do it how you like, maybe put them close together or further apart. But if I do it like this, then it adds to my character's feeling of being in motion. Alright, Next I can do my character's eyes. Decide where my characters pupils are looking. He's looking straight ahead or maybe it's looking down here. Maybe it's looking a little bit down like that. Could be a curve on other side because that's all we see of his eye. And then we add eyebrows. I'm going to because this is what we only, we only see eyes. So that's all we have for showing a character's facial expression. We don't have a mouth, we don't have we don't have cheeks, we'll just have eyes. But I do get eyebrows. I'm going to just capture my character with angled in eyebrows. It looks a little fierce. We did it, we did a fierce, fierce monster, right? So a little bit like the fear small, so we've got quite a spheres. Okay, so there's, my character's face is starting to look a little bit like a ninja. Now, we're going to thicken up and flesh up our characters. Stick body. So I'm going to start with the body of my character. Right here. I'm telling it as a triangle. This character has got a vest on and picture like that. There's the characters waste. Maybe that's a little rectangle across because remember, I'm going to show on my show my character wearing a sash. So you can do that if you'd like or you might wanna do it a bit differently. So maybe there's another little her, maybe they're both on the same side. This is the end of the sash. I do some flowy lines coming out the side. And again, this is where you can get creative and draw it how you like. Now, I can give my character who's a ninja, ninja trousers in Japan. I just draw these as if they're a little bit blue near I guess. A little bit like a little sausage-shaped maybe. Alright, and I draw that and I follow around the line of my characters. Stick legs. Okay? So this is where I'm imagining the fabric of the close kinda billowing out. He's in motion. In the rest of the character like this, I'm going to keep the feet just the simple little ovals. I'm going to leave that like that. Now I'm going to come up to my character's hands. And for this, I'm going to pretend like my character's wearing gloves. So what I'm gonna do, draw a little rectangle shape onto the ends they're attaching to his little circle hand. That's going to look fine for for the, for my character's hands. If I wanted to, I could put a little curve to be, to be the thumb like that. If I want to get fancy, but I think it'll look just fine. Then I can finish off by drawing in my character's sorts. So we see the bottom part of the sword coming out underneath my character's hand. That's just a little rectangle down. Then the top of your sodium, draw this how you will get creative. Neutral. Pointy swords are thicker however you like. Okay, it looks like we've got our first character. I think I'm ready to ink my character. Let's, let's do that. Inking, same with this character. I'm going to start in with my character's eyes. Even though most of the character's expression comes from his motion. Still the eyes are really important, so I go drawing those. I always want to get those right. I can just keep it simple. Circle of my character's head. So part of this flies out the back. And then I have my characters triangular symbol on there. Maybe it's Leto that ninja into house or something. And tell my character's body, here's this little sash or that however you like, flies out. And I just felt like on my ninja characters, trousers. Here I just keep the foot and the ankle very simple, straight shapes, Okay. And then finish off my characters. And out of that little, that little circle there. So it looks a bit like my characters thumb. Really don't even have to do that. That can be tapped. Just the, just as a circle alignment to do a little top on top of Maya, on top of the store. That's a little hand product tall. And however you like to draw their swords. Given a little rectangular shape to them, how sad. I think it looks quite good. I won't rub out those pencil lines yet. We'll start the other ninjas and then I can come back and erase those back to the pencil. Now, we need a couple of more stick figures to start our next two ninjas. First off, I think I will draw a character over here. And I need to start by getting in first things first, circle for my character's head. And you might, you might be positioning your character differently than mine depending on where you've set up your character on your page. So whatever, whatever works for your drawing, I'm going to do is head like that. Little circles. Yes, I'm happy with that. I'm picturing this character lunging, okay, he's gonna just have one sort instead of two. And he's lunging, lunging forward. There isn't good lunging over this character, I think. So. That means that the body, which is this little stick here, is angled forward. So you see it feels like my character's body is leaning forward. Then I need my character's arms and doing arms mixed because this character has a sword. So I, I sketch in a straight line for my character's arms. This is if they're stretched out, you see, I'm picturing the sword in this hand up like that. So I sketch in lightly where I think the sort would feel about right. Then I come down and draw my character's legs. Because I dropped my character's legs now, because I can sketch in these these sticks so that it feels like my character is balanced. You see, I actually feel like I need to bend this leg a little bit more so I might play around with how I've positioned. Stick legs until I feel like the character will be balanced. E.g. if I put the leg like this, if I drew my leg like this, you wouldn't, you'd feel like the character is about to fall over, right? So this is what I mean by playing around with the angles of your characters. I like that. I like, I'm going to go with that. So that's how I decide. Again now I need hands and feet. So this character is here. Let's use this foot here. It's just going to be outstretched, maybe stretched out like that. I'm very close this off my page, a little oval there. And then this character's foot here is like this on the ground. Or I could have made it maybe it's up on his toe, but I'm gonna do a little oval like that. The characters like that on the ground. There's more I play around with, with the stick legs and feet to make him feel balanced. And then my other hand we've got the one hand starting on here on my sore than the other hand is outstretched. So that'll be there. And I'll need maybe some little overlies for fingers to be to make it look like he's got his hand out like that. What's next? I'm happy with my stick figures position, how he feels and he feels balanced and ready to, ready to have a sword fight. And now I can start creating my character. So into my character's face. This character is looking this way. Okay, So we're seeing side of this character. We're seeing them on the side, might still show both eyes, like both pupils. But I create a little openings. So this is the shape of that ones that almost like a curvy triangle. Okay, a little slit in his mask. Here it is. For my character's eyes. And I point my pupils will make us look at, I just realized, I forgot to draw the characters other side of the eyeball. Alright, back to this character. So I'm going to point his pupils. He's looking over here and show two or I could show it just so as a site of just one. When i then I'm going to show them like that. Okay, so 22 pupils looking over here, make sure I've gotten the right position. And then eyebrows. Fearsome, fearsome looking fierce, little eyebrows, little angry, that is. And I can do my characters tie for his masks when we're seeing that. How is it? I think about it, I don't know how, how do I want this little tassel? This isn't moving that much, nearly as much as this character, right? So maybe I don't need it flipped up. So I mean, he's just come out the back like that too though. Too little ties at the back. I think that looks pretty good. I think my character looks like he's looking more at ease to be a little bit more forward. And now I can go down my character's body. I'll do a similar kind of design is here, and then I give my character vest like this. Okay, So a triangle kind of shape over top of my characters spine c in it. You can see it's at an angle as opposed to this triangle was straight up and down around that spine. Whereas this one, see I go around and draw the triangle around this character spine, which is on the angle as his belt. I decide on how it's gonna go. Yeah. Good on them. And then same thing, I come down my character's body and I gave him his ninja, ninja trousers. Just like that. I do think I made this leg a little bit short, but that's what z is. So we go on into it and into trousers. It looks great. I, and I just need my sword. No adult, I need my forgotten my gloves. So that is a little rectangular shape, line angles in a little bit. So it feels like a glove that comes in at the wrist. Then this is our first little, our first bit of where we are actually seeing fingers on this one. Remember from this circle that is your characters palm of their hand. Little ovals around, little ovals that are, that are fingers. Remember to keep them really pretty small to look or does he feel like he's stretching his head? I don't think I need to spread the fingers out a bit more. That adds to the feeling of your character in motion as well. There will be him with his finger stretched out. Then finally, I can do my little little sword here. There is the rectangle makes the bottom of the sword, even though we're doing stick figures, when we flush up or characters, it becomes a boat shape. The shapes always come in. And there's a couple hours that was sort of a half circle mix the top of that sort and pickups. Okay, I could think this character, I won't forget, she was always this time from both sides to them. Again, I'm going to start with my character's eyes, eyes, and eyebrows. You don't have to show eyebrows, maybe you hide them. This is up to you. What you think will look best with your style. I'll finish off my characters mask. I could make it, I could show like it's wrapped and show little lines across the mask. I'm going to leave mine plane, but that's something you might want to do. My character's body. His body is facing floors. We see the full, we see the full triangle of his vast sash. My character's body isn't going along. I make sure that it, It's a feeling right, for where my characters stick legs are position. I was like this is if those were his bones are foreseeing into the characters skeleton or lost. This, this foot is pointed out that someone imagined it. Then I can finish off my character's hands to show that little thumb or not. Here we get to do our characters. Nice, outstretched hand. Looks good. Finish with the characters. Sword. I've never owned media. I'm gonna make my characters, so I have a little, little diagonal lines across it will make it feel like it's more of a handle. Okay, look a little bit of definition to that. Great. Next character. I'm going to do an integral. I'm going to do an integral next. So she's over here and she's coming towards ninja boy. And now I need to decide on her position. So he had his sword in behind. I can make her with a sword in front. That's what I'm picturing. Get a sore. It's going to be somewhere like that. Now I begin, I get in my character's circle for her head and see what I've done. I line up because I want her to be these two are coming out each other. So I want her head lined up with this character's head. So I, I just take my hand, I sort of imagine a line across so I could literally sketching the line of a one to one. And now I give my character this circle for her head. I'm going to try and give myself enough space back here. So maybe I had movers. Her head a little further forward. I made that mistake before we go. Now, I'm picturing her. She's sort of more in a kneeling position, so he's lunging. She's going to be. Nearly as in her body. Her spine is gonna be fairly straight up and down. And that she's got one leg bent like this and another leg kinda like this. So two bent legs and the Sword. She has both hands out front with her sword being held straight out like this, like that. Reposition my sword a little bit. That's where I play around with that. So straight line for her arm and we'll just see a little circle for her. And so now I come down and I make sure that I feel like my legs by stick legs are in the right position to make her feel balanced. So let's play with the front one first. Maybe she's a Sheila but upon her toe, I don't know, maybe the same with back when she's ninjas are a very natural. So she's like we're ready to ready to pounce on those, then this leg feels good like that. See, I could what if I put it like that? I could do that. Maybe maybe you'll play around with it. Maybe it straight out. That would probably look alright too. There are a number of positions that can show your character in emotion. Emotion without hoping exactly the same. So I'm gonna go with that. Now what I've done is I've done is I've gone ahead and done her foot, so there's a little oval for that. But she's she's got her her toe down right. So it might vent a little bit like an event oval. Here we go. Same with this one. There's oval, it's bent a little bit like it's like the ball of her foot is down on the ground. So it makes sense. There we go. Now, I'll come back to my character's face and I won't say what. I lot eyes are almost exactly where the size. There we go. I didn't hear that slit in the mask for my character's eyes to pop through and see. I've actually kind of curved it a little bit because remember our heads around. So it was wrapped with the mask. The mask might appear to curve a little bit. That will add to the feeling that her head is round. Little curve around like that as opposed to redrawing it straightened, right? That may not look it won't look as curved. But it doesn't mean that it wouldn't be a cool style, right? There's nothing wrong with styling things in different ways. That if that's your style than, than it can look really good too. Pupils for my character's eyes. And there you go. See her. Oh, and I should she be? Not too. I'll make her fierce as well. She's she's just a scarcity is very fierce there she is. She's an int, a girl, I better give her ponytail. Use this new journey to girls ponytail and she also gets ties for her mask coming out and that looks fun. I like that. Draw that however you like. It's just there again is our ECR teardrop shape appear. Shapes will reappear, right? We can build them up, however. Now, down integrals body, so both her arms are forward. We might, we might need to thicken those up a little bit. Then for our body that see I can do a little bit different outfits she's gonna be wearing like that. I'm just going to dislike a simple little louder, sorry. So I have a sausage shape or oval sausage shape around her body. She gets definitely a nice sash around her waist. And maybe she's got like in the first, first character I showed you interact in our intro drawing. What do you hear? Birds singing into drawing? My character had the thicker kind of sash around as well. So I'm going to draw that on her flying back. It's not too much. I think his father's family that might not maybe it looks makes it look like she's too much in motion, but if she's just jumped down, say so her, the fabrics flowing up, she's landed here and she's about to pounce. That's what I'm picturing. Integrals, trousers. And again, I am following, right? So I'm keeping in mind the angles and the shapes of the sticks. Okay. So the lines of those fall, I should say. And there she is. She looks so good. And now I can come in and do the smaller things like her her gloves. That's all we have to see. Guernica see any fingers or anything, right? Because we're seeing this part of her hand. Sword, half circle shape on top if you want it like that. And then look up for the first source, like a very different style of soda ash. You can have this style. I like it. All right, time to incur. Beginning with my character's eyes, I can't get her pupils and fierce eyebrows. Hello. We'll eyelashes on her. There she is. It's not very much, but it's enough. Adding little details like that can really make a difference in your journal. Doesn't have to be a lot. Like a little just a little jaggedy on the end of her ponytail just for fun. All of this, the details in your style, you know, play around with what you think. Looks good. Here's her billowing blouse. And then the part of her outfit makes it feel like she's just jumped down. Maybe I could add some little motion marks there. Like this. He knows how feels like she's just jump down. Here she is upon her toe. So it's an oval. Flattened out a little bit. Again. Oval. Looks like she's up on her toe. She looks poised. Simple shapes for the hands. And here I'm drawing in behind, we're just seeing, so she has both hands on this sword. So we're just seeing a little bit of that arm in behind. You could even draw it without even showing that it would look fine as well. And my sword. And when I'm coming in to do something like a sword, I make sure that I line up my life. I'll pick up where I came across here with my, with my pencil, feeling like I had the eyes in line. I do the same thing here. I want the handle of the sword to line up with the top of the sort with the blade. But in between it, I've got a hand, right? So I don't want to just start drawing over here. I want to make sure that I pull my hand up and I've got the handle in line with the sword. It's just one way of trying to make things line up. And that's it. What little I pointed feeling marks on your latch. It makes it feel like the swords pointy at the end. And is there anywhere else that I could add some motion marks? I'll think about that so I can come in and erase. The lines are my first messenger for sure. Depending on what Penny use, ink and draw pretty fast. I find that the pens but I'm using the dry. My goodness. Look, I just said that your dries very quickly and look at that. It's just much I do tend to find that the dry fairly quickly, but obviously there's exceptions to every rule. And when I'm not sure if it dries, like I said, it's best to do a little a little test. Don't do what I do, smashing things. Let's see her. Maybe she's going to show you this much. I'm not too worried if she does. So I'm not going to color these, but if you want to have a bit of fun, you can color your drawings, whether that's with marker or pencil crown, because these characters will look super colored and you want to give yourself a little doodle challenge. Here's an idea for you. So you can draw more ninjas. Same process coming in and draw on yourself and stick figures, but in different positions. Then doing the same thing and turning them into ninjas. So you begin with your stick figure. Began with your stick figure. Then draw in your character's eyes and face and masks. Then come down your character's body and add your shapes. So that's your shapes for the body and your sausage shapes around the legs. And then the rest of your details with your little gloves and sword. So do that for your characters. And like I said, play around with the stick figures in different positions. If you want to have some real thought, there's no saying that Ninjas need to be people, right? You could do ninja cat or ninja navies, ninja hamster. A few of those before, whatever you like. So that's it for now. I hope that gave you a good idea of how to turn something as simple as a stick figure into a character that's really pretty, quite, quite good and advanced our ninjas. And I'll see you in the next motion of drawing exercise. 12. Spy Academy: It's time to put our action drawing skills to the test. We're going to be spies and training at the spy academy. Now we're going to use the same technique like we did with our ninjas, drawing stick figures and then turning them into cartoons and motion. Except this time, I'm gonna show you how to set those cartoons into a full scene. Now for this exercise, all you need is your pencil and paper. And I'm also going to outline my cartoons. Black fine liner. You can do that too if you like. Alright, are you ready to go to the spy Academy? Here? We're going to have a lot of fun making your characters in motion, jumping, flying, repelling, and generally training like crazy spires all over the place. So let's get going. Grab your pencil. I'm going to show you how to start off with this picture. So we're at a spy Academy and I'm imagining that we've got a couple of buildings, okay, We're on the campus. We're going to give us, give herself a couple of buildings so we can have our spies maybe on the roof or repelling jail the side or whatever we want. The first thing I'm gonna do is sketch myself and a couple of rectangle shapes. Okay? These are the upsides of my page. So it's as if the building is going off the side of the page. That's all we see for it. Okay. I'm leaving some space at the top because I'm imagining I can put some of my spies appear on the roof. Then if I give myself another building over here, maybe I'll do the same thing. There's little, little bit of space on the roof because it's kind of like, oh, maybe leave a little bit smaller. Like that. Alright, how to spot look? Because I also want a little bit of space in-between for my spies to be doing some training on the grounds. I do it with a line across there. I'm imagining that this is the, the training field frontier. We're seeing that. Let's start with our first spy in motion. And my character is going to be up here on the roof, right around here. And we're going to draw these, just like we drew the ninjas will vary similarly, starting with a shape, a circle for my character's head. So right about there, he's, he's poised on the edge of this building. C that, and now I draw in my stick figure, just like with our ninjas. This character, you can draw on how you like. I'm going to do in like this, as if my character is leaning over the edge, okay, So PCB, my character has one arm, one arm down like this, balancing himself, and another arm out like this. Maybe about two though to do something. Are they looking through a telescope? I'm not sure what the dream. Maybe there they've got one of those little, little guns that they can use to shoot a line over to the next building so that they can repel or jump over to the next building. Maybe that's what they're doing. One of those little constitute as it has the little spiky is on it. Okay. Sure. What's called a gun so that they can then shoot it the minute they get a line across to the next building. So back to my character, my character's head, a circle, characters spine. And then I've given my character their arms down and they feel pretty balanced. And I just saw and how are their legs? I'm picturing my character and balanced on the edge of the building like this. So maybe one leg bent or a mixer Neil and that could be kneeling, kneeling like that. What feels best here? Same way as we did with the ninjas. I play around with the characters. Stick legs to see what's going to feel best. I think I'm gonna go with knee bent and foot on the edge of the building. And remember this is where everything's sketchy, light and sketchy because I need to make, we need to move some of my lines about I've decided my building ECO habitable lower. That's what I've done there. And then I can do my character's feet. And I'll do them quite simply like we did with the ninjas. Oval and maybe this character is upon, upon his toe. So that makes it two ovals when awful there. So it makes sense. I hope so. And then the other foot just maybe flat flat on the edge of the building. There. I think that feels quite good for my characters poised physician. Why he's about to, about to do a little shoot with his, with his gun. So now I give my character hands, little circles, little circles on the end of my stick arms. These characters, I think I can keep them quite simple by giving them gloves as well, right? So like we did with the ninjas, some little rectangle shapes at the edge of their hands and then it feels like they've got the gloves on. And I can keep the hands as little circles there on their spy gun. This is supposed to be, supposed to be a little hook. The hook. Now I can start turning my character into a spy. So the characters that I'm gonna do here, I'm going to put them into helmets. So I wanted to look a little official, right, so that's fun doing. So this line is the top of my characters helmet. Then maybe I'd give a little line down. See that? And that's a little curve around the psi. See that it looks like my character Scott, helmet on. Next character's eyes. Now, these are spies. So I want them to look like they're being sly or tricky, right? So I'm giving my character big wide eyes. This is why you can play around with it. And then I decide, again, where's my character looking? My character may be there. They may be shooting this direction and maybe they're looking back this direction, right? So I'm happy with my pupils like this. So this character's like amino checking to see if anybody is following him. Or those lists by student. Here we go. You put a little emblem or little symbol on top of your characters helmet. Because I'm thinking I want all the characters to look like they're all from the spy Academy. So I want to give them a similar kind of a uniform. Now the rest of my character, I'm going to do very simple. All I'm gonna be doing is thickening up my stick figure with shapes. And I'm going to keep them quite straight in this case. With an interest we did sort of Bill Haley and larger kind of clothing. But these spies, I'm going to keep in sort of slim, slim and angular type outfits. How does that look? I'll thicken up his arm a little bit thick enough that arm a little bit and reduce your carriers on. I haven't jumped away from SAS session to come back to his face, knows my character's nose and a little, a little, maybe he's got a little wave for smile because he's, he's a bit suspicious that something's happening back here. Perhaps I give my character a backpack. Maybe he's got his, his tools and his gear up here. You know something, I know what it's not up there. There we go. Backpack. I think that's it for this character. I think I can income. I haven't shown eyebrows on this character, but I think that's okay. I'm making him look as if his helmet is right down over his eyes. Looks a little bit worried. What happens when you're a spy and training. A little symbol and put it up here. I hope it looks like a target. So he looks like he's from the sky Academy. That's my idea. Their face is done. I can go down my character's body. A lot of the lines. Remember, I can just keep very simple and straight. I'll give them a character boots. I want her to look like he's got an official spy outfit on. There we go. He's wearing boots. I could maybe give him like a lady's got a belt or something. I think that sort of breaks up the feeling of his outfit a bit. Now one thing I haven't done is put any fingers on this hand or maybe he's just resting his fist down on the side of the building. So that would probably work. And the rest of it, simple little shapes for the hands. Here. Uses spike on his backpack. And then we've got our first spy on the roof. Now I don't think the roof or this line where he is because I don t know yet what other characters might be interfering are coming into that area. So I leave that. I'm going to go on to my next character. And I think for this, I'm going to have a bit of fun with this. I'm going to put in my judgment by Golden overspeech. A spy helicopter. Okay, so here's because one of the pictures by helicopter, this is just an oval. It's on it's on an angle. And I'm picturing somebody throw that there could be hanging from it or they might beat me with a trailing out trailing out the back off of the line. How's that? Okay, That's what's going to happen. That's my next fun little spy in motion. So to do my helicopter, this is not a big part of my drawing, but I need to show it so I can do it quite simply, oval for the main body of the helicopter. And then I give myself a couple of little propellers. Or I could show that even more simply by just doing a circle, another oval on top right. So I drew a line coming out the top of my helicopter and then just lightly drawn oval or two. So that's going to show as in the propeller is moving. Then I need a front to my helicopter. I won't even draw anybody inside it. But if you want, a challenge is off, you could draw a little character in here, you know, you want it to. And then this is the tail of the helicopter. Just a long rectangle coming out the back and a little angled rectangle on the end right there. I just put together the shapes and we have a helicopter, but I'll give a little open door so we can see what is the line that comes out in my character is going to be hanging from here. So he's, he's smaller, right? Because he's he's further in the distance. So now I come down and let's draw our next character in motion. So this character, I begin with my character's head areas. Like I said, he's a little bit smaller. So character's head, the characters arm is straight up. You see a straight up along the line that comes out of the helicopter because he's sort of approaching kind of like old trailing along. Okay. He sees in training maybe it's not very good at this yet. So a circle for the character's hand and stick for their arm, then a stick for their body. And they're sort of like as a trailing, trailing along with visit. Maybe they've got their other arm arm out. Okay. And maybe their legs are like like like this. You are the kind of spread out. Should you be looking? I think the character is looking out. I think the legs will be trailing down behind the arm and these sovereign leg will be trailing down behind. Okay. So it looks like they're being pulled right is the line of what's happening here. My helicopter needs to be bigger. If that's alright. Character's head. Then the other leg could be, it could be trailing out the back. It could be like this actually feels quite good. I think I'll do that. So this is again where I play around with the stick figure until I decide that I've got them in the right position. Even need to move my field down. I don't want it to look like USA on the Brownsville. There we go. Now I can begin drawing this character. So I've decided he's gonna be looking up. And again, I'm giving my character helmet, little opening there for my helmet. Eyes, pupils looking up. Maybe I'll have the eyebrows here heat. So he looks a little bit worried. They look a little bit worried. Worried luck is with eyebrows and golden years old here. Maybe a little open mouth, a little 0, 0 like that. This will be clearer when I ink it will very soon. Then same thing down my character's body. Drawing. Shapes over top of the stick figure. So a rectangle for the body. Legs, sticking those up a little bit. And I haven't done my overly feet a little ovals pointing down like that. Let's see how it needs to look like that little ovals pointed down and while they're gonna be boots rights either give them a little rectangle on the end to be his boots, same with his his gloves and those little hands still it's just a circle. Just just circle. I think this army stay longer. Remember there's the trick of legs need to be about as long as arms. And a few little fingers on the end. Just add a spy, hopefully, given the backpack, maybe your backpack in the belt. This hand, it looks like I've made it too short. So before you go inking, have a look back to your character and makes sure that you feel like their proportions are looking good. I think I'm ready to ink this guy. My poor worried, worried spy. Oh, oh, for his mouth. I should put the little spy symbol again on his, on his helmet. Will circle with some dashed lines. Then down my character's body, which puts gloves on outstretched fingers. Again, remember they're just shapes. Just think about anything that's difficult, like hands as shapes, spy boots. I'm just going to keep this hand very simple, just a closed fist, so just a circle. And now I can do my spy helicopter is this is not a big feature of my drawing, so I can keep it pretty simple. Just made my propelling a little bit bigger something I should put that little symbol for the spy Academy on the back of it. Maybe you want to label your helicopters by Academy on the side. All kinds of little details you can add in. So it looks more fun. And therefore the propeller, all I did with some quick couple of light circles and I use my pen more on the edge so that it doesn't come out as thick line. Alright, oh, and I should probably put on some little while landing, landing legs but helicopter. And I could show the helicopter with a few little motion marks, just like I could show my character is being pulled up. A few little motion looks whipped off the ground. Great to characters and this is good. Let's do another character. And they could be, it could be up on the roof. I've got that space. But I think I might do a character on this building, but repelling down at, you know, select on one of those lines. And they're, they're climbing down the buildings that are repelling, repelling down. Now I need to move Life Building over a snitch. So here it goes. It's not gonna work. Yeah, I think that should give me good space for my characters. I move that around. And now I draw in my character who's on the building, my opinion, but I want to leave more space at their site, put another character and the top is built. I'm going to lower my building a bit. How's that? That looks good. Again, play with where your buildings are in relationship to your characters, the important part or the characters here. So here's my character who's climbing down the building. I start with the character's head. It needs to be a little distance away for this building. So character's head a little bit bigger there is both as big as this character. And then the body spine, the line down. Because there's not, they walked down the building. It's kinda like they've got one leg that's sort of bent like this. Maybe he's got one leg out and he's he's he's he's walking down the Billy. He's got the line. Okay. So there's gonna be whatever line he's holding onto that has arms go straight up that a little bit like this character. So there's the line but he's holding his hand or hands. Erbitux got both hands on it. I hope. Line of characters arm coming down here and do what will be your shoulder. You can change the positioning of legs however you feel maybe one likes down here, I don't know. I like the feeling of them like this. One knee bent in here on the building and the other one like like like that. I feel good. I think so. Downey goes down the building. Now I checked that I like my stick figure, like he feels pretty good for daughter is a little bit curved. That's okay. Just naturally doesn't actually perfectly straight. In fact, I often will draw things that are normally straight like a building, but with a little bit of a curve. Because it adds some interest to my picture. And it means that the picture doesn't need, the rest of the lines don't need to be straight either because everything's a bit curved into my character's face. What's this guy doing these keratin actually be looking down. I caught this character is looking up at the helicopter. Let's do this character looking down here he is. I think maybe if he's lost his helmet, his helmets fallen off here this holiday, so he's looking down, so I'm going to give them some. He's, he's surprised. Okay, we're getting some of our expressions in. So there's like a wide-open eyes. He's like maybe he's open milk as well. Why does water open mouth? Because he's just dropped. This is how it's just fallen off his face, his head rather than here's his helmet. Circle. Same size of his head. Anomeric, your foot a little opening like this. There's the helmet. And it's fallen down there because his helmet should be a little strap or here's a little, little strep throat this however you like. Here we go. There goes his helmet. He didn't have a strapped on, the straps broken. So back to my character is surprised expression. Toll, wide-open eyes and eyebrows high up above, high up above the eyes. The eyes are wide open, pupils. Looking at his helmet that is lost. I can just give him a little girl here she is. Spy girl, ponytail, hair up. Hello, I can show an E or maybe on her because we're seeing very much the side of her face. And she looks down at her helmet, which she's lost. Now I can come in and draw my shapes over my characters. Stick figure. I'm going to give her backpack. She's a backpack. Backpack? Yeah. Or maybe she's got she's rope on her belt There she is a couple of ovals and Olson she has a rope on her belt. And I gave her her gloves and the hands stay a simple circles. And I give her spine spiral boots. There she is. I'm going to pick up on her toe. The Oxford. This leg Here's her other other foot. Brilliant. I think we're ready to ink her. And I began with her eyes and her face. So make sure that their pupils are pointing where she's looking. Surprised eyebrows. I'm gonna do her with a little her mouth is open. It's drawn like a what is this? This is an upside down V. And I ink in a little bit. So it looks like we see her tongue because she's surprised. Memorial, She's lost her helmet. And again, keeping all of the rest of her simple straight lines and shapes. By backpack, we could, I could put the symbol for the spy Academy on her backpack too, but I'm not going to do if you want, you can add those little details that make a difference to the overall feeling of your drawing. And how much of a story that you're drawing tells. How, but don't forget my helmet. They would go what sees? Things went wrong. It was dichotomy. What's next? So you'll notice I haven't linked in the building or the line that she's holding. I could I'm not gonna do that until I decide if there's anything happening in or on top of my building. So that's next. Let's look at what we can add next. Who's our next spot? I'm picturing perhaps somebody in the building. So I'm drawing myself a window. Okay. And again, it's not straight. It's a little bit on a curve, just like my building. You can draw your straight if you'd like. Whatever your style is, all these little differences add to your own unique style. So I'm going to do what about, what about a character who's on a spy scooter? I'm gonna do a flying spy scooter. I'm gonna do a character on a flying spy scooter and his eyes just come up the window is as you would if you were a spy. So here we go. Window for some reason is open, and here's my character on his flying spy scooter. So I positioned where the scooters. And then I start my character, a circle from a character's head. How many That's what he's looking at us. Perfect. Almost lines up with this character back a little bit for him to be looking like Bono, someone's coming out the window at me at a spice, beautiful today. I see you. I can line it up. So again, I grab my pencil and I'm like, what would be his line of line of sight? Where would he be? Lucky? Now let's see. If I put my character right here on the spice theater. Maybe this guy's looking up. How's that? Should be looking up? Well, maybe he's looking over here, circled with the character's head. The line for his body. And how's, how's it poised on the scooter? Likes looks like this may be how would you be on your on your flying spy scooter? I'm imagining like this. Okay, and then an oval. So I added my next shape. Now I've got my character on his hovering, hovering spicy food or how great. We need a little bit of a spike here and here. The character, both arms, Here's the little handle of the spy scooter. I put my character's arms, sticks, sticks out on a spy scooter. Maybe you should be waving. I'll do like that. You might want to do them waving or maybe he's he's he's holding some spotty. So hauling was talking to you it into a spy here and changing it to contain it. He's going to talk into his spy. Spy followed a spy gear there. Okay. So this is a little more challenging. This guarantees not looking where he's going. Hand-on. He still has his hand. He's been good. He's got his hand on the scooter. But he's looking back and he's not paying attention. He's talking in two years Despite on or maybe I could put a little lot. Okay. I won't be that bad and won't be that bad. Don't do it, don't do what I'm doing. I just put both hands on the spy scooter. He's going to have a mic and a walk a little walkie-talkie on his helmet. Okay. You can do it how you want. But now on goes his helmet. There it goes. Because helmet on. He's talking on his this is a mic, that little oval there. That's his mic. And maybe this is the instructor coming out to tell everybody what they need to do. Okay, continuing along, overcome cotton, little distracted by all that fun. Okay, so back to the character, back to the character eyes. I need to decide what this character is to always sunglasses. He's Scott, spy glasses on as well. Alright, so just a couple of D shapes and he's got spy glasses on. So obviously it's, it's character's nose and he's a, it's kinda like a square mouth because he's kinda, kinda gridding or yelling into the spy microphone. Here, Here's great level. Similar on the helmet. Same thing down the characters body. Keeping it really simple. It definitely has on us by backpack. Character's body down the legs. And the one thing I've ignored a little bit on my character's feet. So ovals, boots, actual little bit pointy. These characters boots to look a little bit pointy. All of these little details and how you dress and act your characters. All things that create your style and how your picture looks. You can always start off with the basics, the basics of the stick figure to capture your character in. The type of motion that you want them to be in. And then everything else, you know, you really get creative with. Once you've got the basic shapes and know how you're going to be drawing a picture. The rest is pretty easy, fun, but really, here's my spy. Hover, hover board is tolerable. Scooter, hovering scooter. Definitely the spy Academy symbol on it near her way because right here there's a, there's a plate here and it has a spike had dummy symbol. There it is. Again, just draw another shape and stick that in there. Would you put it on the scooter? I'm ready to ink this character. Same thing. I start with my character's face, even though she's got sunglasses on, spy glasses, rather. Sunglasses. Still going to capture that expression like I just stuck some eyebrows on there, but I'm going to leave him plane. Few little dots on the microphone to draw some attention to that and make you feel like it's a microphone. Characters, gloves and the same thing keeps the shapes of the hands are really simple. So good thing about gloves. I can simplify drawing hands. Have some fun with whoever you want to design new. Spy scooter areas. I'm just going to add some lines down and some clouds. It looks like he's blasted offers curvy lines and the motion lines down that will make him feel like he's blasting off. So I can almost inking this part of my building because I've decided on all my characters that go here. You may want to add more to it, but I'm going to wait on that. I want to finish off over on my other building. I need to decide who's who's in the building and what they're doing. So let's think about that. I think what I'm gonna do, a character, he's here. Maybe this is the instructor. The instructor. And he's a he's definitely yelling into his microphone and he's pointing he's pointing like this, like somebody's this guy. He's telling this guy what to do. Maybe I'll give them, give them a like as well. So he's pointing what this guy needs to do. And he's going to have a mike on his helmet as well. So here he is and maybe he's got his hand up to his head because he's like general thing. So little sticker my character's body and I couldn't eat too much. Let me, standing on the edge of the building, it might feel a little bit more spy like you're just gonna be up on, up on the edge of the building like that. Maybe let me start a chocolate building down. That's okay. I can leave them on maybe a lot, maybe all these and I'll leave them like this as if he's appearing over the edge. Just keep it simple. Now give me a little bit of space to put us somebody window here, maybe. There's various same thing. So go for the character's head and then he's, he's pointing this way. Okay. So the action of that arm and then just stop. You want the other arm to do is you waving it around? Like Don't go there or is he I think I'm gonna do my characters if he's got his hand up on his head going Bono. So here's just a helmet. And I think I'm going to do, he's going to match this character because he's talking to his character. So I'm going to do them with spy glasses. Spyglass, simple little nose, which again is just start a little C-shape. And he's gonna be like maybe he's he's going to have a wide open mouth. It's always like yelling and worried. And hand up on his head with his little fingers, trying to tell them what to do. And his body, they're just a little rectangle down. Of course we need his hand pointing a circle with the little one, little oval out as his finger. Okay. I could do a little little thumb if I wanted to. I could just make it really simple like that. I think maybe he needs to be maybe holding something. I'm going to change what my characters are doing with his hand. He's instead going to be hold or if I was going to do the mic. Right. So here he's talking on the mic. He's got his hand up to the mic on his on his helmet. He's holding that. Okay. That'll be good. Forgot that character. Time to ink him. Finish off by putting some character into the window here. I was going to do that here, but I went stuck with character on top. Few little diagonalize, cross the glasses. Make it feel like it's glass. So we kept the idea that he's wearing glasses though it looks very upset. My ink in this metals to really draw some attention to the fact that he's not very happy with whatever is happening. Here is his little hand on the on the mikes are just a few little curved lines. Here we go. Oh, brother. And he's holding the little dots on it. Some attention about. And then we know what he's doing. Airports. Symbol for spy Academy might be quite good, right in the word Fire Academy. If you're gonna do some little fun additions like this, I caught this great space here where I can write the word spy Academy. Maybe I start with the symbol for the spy Academy, which is just circle and for dashes through it. And I can write in. It's by academies. So I look at how much space I have a little ahead. We're gonna do wording when we get into most yourselves studio that's in a few buses from you now, but there's a little head start. This is how I would put in a word on my picture. The word is spy Academy. So I've got two words and I know about how much space I want it to take up. I bought this much space. So I draw an orbital shape. Okay, there's my shape and I can write spy, Kathy. Spy. Hi Academy. Perfect. I'm going to do my last little somebody or other someone in here. What should I do? I'm going to do a character who is, maybe they are on like a listening listening device, or maybe they're there. I know I want to do somebody who's right up in the window. Just about to, just about to jump out. How's that? So I begin with my character's head to make a little further over how's that? They feel much more like they're about to jump out or amino repel out whatever kind of crazy spine move they're about to do. Then my characters spine. And this character is poised up on the sill of the window. Okay? So they are, they had a foot right up on the window sill and they are about to jump on me if they're about to throw something. Here we go. They're throwing the practicing throwing throwing, throwing grenades. That's why something like a paint blooms or something. So that's my character is going to be doing just fine. I got his leg up on the ledge. The other one I can decide or the kneeling up there, I think it would be like this. That's if 1 ft is on the ground, inside the building and 1 ft is up on the ledge. And then with this arm, they're going to the answer we straight out is if there is, if they're aiming or pointing at what they're going to throw these balloons out. How to stop deal. I think that's good. Now, into my character's face, helmet goes on. The eyes. Where do I want my 3.2 and 1.2 all maybe their hand you see further up, your hands me further up. And I'm going to have the eyes looking right at reviews, any of this guy. So I'm water balloon out of their eyes, eyes on him. And he's gonna, I'm gonna give you an angry expression a little bit like the ninjas. Those fierce eyebrows. Really space for my spy symbol up here we go. Once I've roughed in my character's face a little, I scrub a frown on simple little downward line. Drawing the shapes over top of my character's body. Boots on. Like it's cut off, you don't see it. It's down below. Here. He's holding his hand on it. Here's a hand on top of the spike. Have any water balloons, little symbol on there to spot Academy water-related. And he's aiming. We've got our circle for the hand and I can draw on some level ovals to be the fingers. I say he's got his hand up like that. And then the hand that's holding the water balloon, just a little ovals on there. It looks like looks like fingers. Here we go. I can add up. And he's ready to launch his horrible at a talk. I can think my final character. So I think we've gotten quite a few different characters in very different positions. All using the same technique. Starting with their head. Trying a showing a stick figure. And then adding the shapes and question them up. So now I can go in and finish off the lines of my buildings. And my background is not, not too much to it. So quite simple. Now we feel like she's on the flight. Whoops, He's now she feels like she's relentless side of the building. I like that better. And I can finish off my spy academy sign, square style writing spy, spy Academy. And I can do with the building. Now here is our first one. We did great poised upon the side of building. And I'll draw in. This window, might look quite good if I may, this little face of a student they're looking at and being shocked when you see somebody on a by scooter background of the deal. And that's it. We've done, wow, six characters, quite good. And I can probably erase off, erase off my lines. Now, I hope you liked doing spies. And I've now gotten a better feel for how to put your characters into lots of different poses and show them in everything from, you know, a lot of action, like our character here being pulled by the helicopter to a character who's not as much oxygen is not moving, but he's got his arm out, poised. And then we've got our little character who's, he's not moving, but he's he's about to throw something that maybe needs a few little motion marks bound what he's about to throw to someone like our spike girl here who is repelling all the way down the building. Her how much? I think this might be my favorite character, a spontaneously added character. I think about him before. And there we go on his scooter. Now if you want to give yourself a bit of a doodle challenge, this is what you can do. You can add to this picture. You can add in some things like, well, I suggested the idea of putting in a little face here in the window of a student looking out and being surprised at what he sees, right? So you can practice filling in little space and the expression on that character's face. You can add something else. Maybe you've gotten a little bit more space down here. You could add in, say, a look at nutty professor in a window. And he's, he's maybe giving one of the students some new spy gear or something. Or you could add in a little bit more detail to the background of what's happening down below in your picture. Maybe there's another character down here in the field. Maybe you've got spy dog. My dog down here. Here is my dog. My dog. Or another character in motion down there. So those are a few ideas of ways that you can keep challenging yourself with this picture. And it would also look fantastic colors by Academy. There you go. See you in the next lesson. 13. Monster Sound Studio: We're going to switch it up a little bit. We're going to be cartooning words. It's called Monster sound studio. We're imagining that there's a monster and he's gotten into our sound studio and he's making all kinds of noise. So what I'm going to show you is how to draw the monster. And then we're gonna cartoon all the sounds that he makes. Like pop, Boom, bang, using shapes, letters and bubbles, and making them look the way that they sound. So for this exercise, you're going to need your pencil and you're black fine liner. And I'm also going to show you how to underline your lettering. So you're also going to want to grab a black marker or maybe a brush marker if you've got one. Alright, are you ready to do monster sound studio? Picture this. Monster has taken over that sound studio. Here's our little guy here. And I've drawn it with all kinds of long, kind of crazy arms. Because he's gonna be playing all kinds of different instruments. Maybe he's got a keyboard here. Here you see some speakers. Maybe he plays the drums. So he makes all kinds of sand and our studio. And then we're going to draw words up above him, looking like how they sound. So here you can see I've drawn the word monster with the word monster. I've done it in kind of a wiggly shape, a bit like my crazy shapes in my monster and I've given it eyes in the bubble, the shape. And even in my lettering, look, I've drawn little eyes and little teeth so that the word looks like a monster. Next one sound, I've made that look like it's making a big crash sound. Then for the word studio, I've written that in what looks like a studio sign. So that's our plan for today. Let's grab our pencils and get started and don't forget, you're also going to need your black fine liner and maybe even a marker or a brush marker for this one. Because it can help for underlying some of the words. First things first, we're going to set our scene and we want our monster at our desk. So how I'm gonna do that is I'm gonna give myself a, a desk here. So that's just going to be curved. Line. Towards the bottom of my page is about a quarter, a quarter or third of the way down my page because I want a little bit of space on the desk because I might put in here as a keyboard or something like that and maybe some other instruments that he's playing. Or maybe it could be a speaker on the desk or something. So there's the start of my picture for setting my scene. Okay, so simple sort of curved shape. And again, I've made the desk curved because, well, it's easier than trying to make a straight line. So let's, I'm gonna go with that. Next. I'm going to rough in the shape for my monster. I'm going to make him, he's quite, quite, quite small, low down and wide near the desk was how I'm picturing. But feel free to get creative and Android or malls or in any kind of crazy shape you like. The only thing to be sure of is that you leave enough space up above, because this is where we're going to be drawing all of our words, all of our different sounds that he's making. Alright, continuing with the monster, a monster it can have any number of ours, so you can drawn, let's start with that drawing on some eyeballs. I'm going to do these, maybe this guy's got three other types too. I'll do 333 eyeballs this time here you see you might be looking all around to the different things he's doing. His eyes, ears, eyes. And I might make them look a little, a little wild. So I'm gonna give him his pupils talking every which way. This was looking down at the keyboard and that's looking over at something he's doing. And this is looking up at some sound maybe that is made. And I'll give him a big, huge, big wonky melt. It could be singing as well. We don't really know. It's crazy, big, crazy big mouth. How's that? Yeah, Anyway, ask me singing as well. Singing and smiling and val2 managed to lower my table a little bit. How's that desk rather? Good start. Maybe he's got on horns and the fun that it little example shaven pores. I was thinking about putting headphones on him. I think I'm going to put headphones on this character. I think there'll be a little bit more fun. Okay, so half circles, D shapes, half circle there. Again, I'm building a mode of shape. This character. Here we go. Those are gonna be, get rid these ones. I'm going to leave out, I put them in, back in or want to see. And he's got on his headphones. He's an a sound studio, so he may as well have on a set of headphones. Great. I like them over and over. And I want to see his tongue in here because remember Hazel either fix the bottom as well because he's singing away or screaming. He's something he's, he's making sound anyways, it's making sounds that we see inside his mouth and I can I can talk about in afterwards, so. Okay, good start. Now I want to have a few things around instruments or keyboard and some speakers may be that he's making all this sound width, okay, so onto my desk, I draw a curvy kind of rectangle. There we go. That's going to be the keyboard. Now a keyboard, tricky to draw, but the key to making something look like a keyboard, and fairly quickly I've discovered is to do this, I draw two rectangles that a little space. And then I draw three rectangles together. 123, then another two rectangles, and then another three rectangles. All of a sudden, it looks like a, like a keyboard. Super. So what else do I want on this desk for him to be playing with? I thought he could have perhaps a mixing board, right? Maybe there's a sound mixers, So it's like a rectangle, millimeter long, big long, big long rectangle. It's got little sliders all around it and all. You know, he mixes mixes. I don't know too much about it, but I'm picturing him mixing the sound there and it plays on the keyboard. Maybe he's got a like a record player. Yeah, you could do, you can do scratching like a DJ. So that's what this is. This is just a circle. That's little needle and that needle on that needle, all the records that however you'd like just make make that up as like a needle on the record. Hope so. Okay, so let's go put that chip it then a square. Now I want some speakers, but remember you are master might be doing something else. Maybe you want him. Maybe he's gonna be playing the guitar, the drums, drums I think are a good idea. Drums, I'll put those in. So he's going to have, I'm actually start off drawing a symbol. That's what I picture when I picture drops. And then this is going to be just gonna be here all day to drums like this. And then I'll do 11 term here and a cymbal crashing down on that symbol there. Here's the drum. It could be maybe he's banging bad or something. And here's the drunk. So those are just everything spelled little shapes, ovals, oval shapes. The symbol. So it's got a little Stan. Stan, right? That looks like a symbol. Maybe I need to I don't know. And I'm going to put a speaker. I'll gonna do speakers maybe on either sides. So I think both speakers is I can conscious whatever shape I want them to be. There we go. I can take it straight off the page, right. I could draw it like this. A little box that goes off the page. I could do the same thing over here. How will it fit me? I could do that and it gets bigger, bigger, bigger speaker over here. Circle area. Okay, so we're starting to feel like we've got our monster and he's got some stuff around and make noise and he needs a I'm gonna give them a little you can use to drink. Maybe he's got his account of pop on his desk. I figured that's something else that could make us out who pops out? So they become, he's got a little cannot pop on his desk. But you can imagine any other things. Maybe you're going to put in a guitar or something. How cute kitten, and I'll do a guitar to do a guitar, that seems like a good thing to have a sound studio. And I'm going to draw it like an electric guitar. So I start off by getting in my shapes. Same thing. So there's a circle for the bottom part of the guitar. And maybe it would be like a really kind of shape there for them. Top part of the guitar. It's an electric guitar. So I'm just going to curve. This. Curve is like this. The two shapes come together. And an electric guitar that sticks out here at the top. This is the kind of drawing the top of the cap. Here we go. I think it might be may not be symmetrical. I wanted those parts will be longer than the other. So that's why I've drawn it like that. Then it needs some strings. So that's really just a rectangle. A long, a long slim rectangle should give me that. When there's the keys go on the end of the, end of the guitar here. Just a few little circles on the end of that square root. I think it looks like a guitar. Now we've got our character with all of his equipment out the sound desk, except I need him to be playing things, right. So I need his arms to be kind of like smashing the symbol and maybe banging the drum. And maybe he's got a hand on the keyboard. He's kinda up his arms all over the place. So I'm going to start drawing his arms onto things and I'm gonna do them really quite, quite simple. I'm gonna give myself lots of room for error, if you will, because it can be tricky to get all of these arms in onto the. Instruments that he's playing. So I'm just going to draw a wavy, curvy shapes to create his arms on top of wherever I want to place them. Okay. So here's one onto the keys. I'm not giving him just pointy little triangles for fingers. Where else do I want one? I wanted to have an arm. A little curvy line up onto this mixer here. He's doing some sort of mixing, some sound. Now I've got a couple of those arms and now let's see onto the symbols. So maybe he's got a drumstick and he's going to smash the symbol. So notice what I do. I don't draw the arm, actually draw the drumstick first. I do that Because I want to place it where I want it to go in comparison to my symbol. There it is. And then I need a hand on there. Okay, So a little circle that will give me my idea for how my hand isn't gonna just attach it to his body. That's all. He needs, his little pointed fingers and then also a little a few Pointes. And we've got him about to smash the symbol. Okay, what am I missing? I could have them doing a little drum here. I can probably just sneak a little arm or if I just stick a little hand over here on top of the drought does not work. I think so. The hydrogen behind he doesn't actually went into the speakers, but he does need to hold the guitar and he does need to his comprehensive scratching over here onto the the record. So all I have sneak a hand up here so you could be hidden by the desk. So I give a little curve, I figured out where that could go. Then I give my little triangles on the end where he's holding the record player onto the guitar. A little bit. What message? Onto the guitar? For my guitar, he needs to, while you split the strings and he needs to hold the bottom of the, of the guitar. So let's see, I need nietzsche, his hand to wind up there. Okay. I can always do the hand versus the triangle of the fingers. Just draw a curved line down and attach it to his body. Okay, that's it. And then he needs to hold this part of the guitar so much. See you have them. He's going to have as his hand here, say, the strings to draw on the hand, little pointed fingers, I should say. And it goes in front of there. And then I just kind of curve it underneath. Holding the, holding the guitar. Super stuff that will curve around. Anything else? I think that's good. He could be it could be. Maybe he's reaching around here for his can of pop. At the same time, while he's very, very multi-talented, this guy here, we use so much sound. Okay, you can see why I have done this whole part of my drawing in pencil and I haven't done any inking. The reason is because so many parts here overlap. This part of the really tricky thing about this drawing is how many moving arms he has and how they go over top of all the different parts on the bottom of this drawing. So that's one real challenge with this dr. Apart from our rewards which we haven't even started. So I can come in and like an ink this section. Once I've done that, then we can start on some of our words. First things first, my character. And again, I can begin with his eyes. So same process thinking his eyes. And I might add an extra little circle within his eye because I've drawn with very large big eyes, big pupils. So I think that will work well on this character. There we go. I still keep the rest of my shapes really simple. So these were just half circles on the side of his head. Making my headphones. I can always add an extra little line or a little bit of detail, whatever I think is going to add to the character like here, I see there's all space here. Maybe I give them some sort of like a crazy, crazy monster here. Worker just draw it straight. But I think that was good. Then his mouth, which is whiles wavy. Thing. No. I haven't, I didn't have any teeth. I definitely want some big monster teeth. So here we get some big teeth. And his tongue, right? So that's in behind. Hand-drawn his tongue. Tucked in mind there. Now, when I started sketching this with pencil, I drew in the instruments first. But because his hands and his arms are on top of everything, I draw those next. Okay. I draw what is on top in my picture so his hands are on top of everything. So they go in next. Okay. Then I can come back and ink the grass. But starting off with his arms that are on top of the keyboard. Next. Would've other arm up next. Just keep working my way out. Wave their way around somewhere else. Here's another one. Sneaks up onto the record player. In that note, don't forget, he's kinda pop over and maybe you haven't drinking something else. Maybe he's got a coffee or something. Who's got pop would make a sound. There we go. And I started his, started the instruments down my drums. So now that I've got all of his arms and I can start drawing all of the instruments, the keyboard, everything else that's underneath. Alright, so that's next. Let's do the keyboard. For this. Doesn't have to be drawn or ink super carefully. Because I have curved it right. Then it doesn't have to be like I don't have to worry about it. Turning up perfectly straight or anything. Look at the keys on my keyboard. I just sketch them in quickly, right? They don't have to be super, super carefully drawn in order to be effective and to show what it is that the character is doing. And saying, mixer right here, I'll just sketch out some shapes. Few lines. Natural look like a natural look like a mixed abilities. A few lines this way. If he's measure up where he's shifting, here's a little keys. I haven't drawn my can pop there. And onto the rest of my instruments. Again, the, it's like the strings of the guitar. Keys on the end. All that can be a bit more sketchy, doesn't have to be so carefully done. Almost forgot the arm of my arm of my record player. And my seekers on top of my desk, which are quite massive. There's another type is sketchy. But again, this is all part of how you develop your style. Maybe you want to draw these items more. The more carefully as well. It's all up to you and that's all what changes the overall look of your drawn sketchy lines. So we see the record of a record player or you forgotten his drumstick. I shouldn't have really had a legacy still due at the end of it coming through the other side of his hand. Just like we did a few little motion marks and some of our characters in motion and spy Academy and Ninja master. I'll show you a little, you know, little motion marks or vibration marks and a few places that maybe I feel like they belong, like maybe the around the symbol or maybe by the drum, right? Maybe I got a few little bang, bang looking marks. And does there need to be anything around the guitar? Maybe really what it needs is a few little music notes. Okay, let's start with you. Just so we get a little feeling for go for some music. These are little details that I can continue adding in later. We got on my desk over your desk that I continue adding in later once I've got the rest of my picture down. Alright, so that is a big chunk of our drawing done, getting our monster in and all of our instruments. I want to erase it just yet. I'll give it a little bit of time to dry. But in the meantime, let's start into starting to our words. So what did I say? We have, well, we've got a guitar and he's got his headphones on. What else do we have? We have a mixer. Okay. So he could be doing he doing anything with fat. It's going to pop. I'm going to start right there, pop. So our first word is pop. Now I'm going to start, believe it or not, by drawing a shape for pop. I'm picturing can of pop like I'm picturing that sound when you open it up in the fizz comes out. So I'm going to draw a shape to begin my my word pop. What I'm going to draw as a shape that's a little bit like a can of pop, except make it more open at the top. Like let's call it picturing the word pop with it. It maybe like some bubbles or something coming out so we get the feeling of pop. Once I've drawn my shape, I'm going to sketch in my letters, okay, So P 0, P, P. Maybe I do, I do the 0 TO, I'm going to make it down there, p, p. So the letters that I sketch in fill the shape that I've drawn. You see that the shape of a can of pop, a little bit exaggerated. And then out the top, I'm going to draw myself bunch of bubbles, bubbles like that coming out of my can of pop. That's gonna be my first first-level. I think I can ink up. One other thing is I haven't done this. I sketched in this slithering quite quickly what I can do very similar to what I would do with a character with e.g. the stick characters that we were drawing. I just thicken up the lines right? So I've drawn that. When I go into ink it, I'm going to draw the lettering is if it's a little bit wider, I just draw a shape around it. Okay. Now I can get my letters following the shape that I created for them. Great. I'm going to make little, little, little bubble is coming out from the center That's folder. And then request and blue bubbles bigger. Some of them small and vary the size. They might have either more bubbles right at the very center where it where it comes out there. Because oh, it looks like it like all the bubbles come out of the 0. And then I make it different, make it a little bit further spaced further apart. As I go further out. How does that feel? Does that feel like pop? Pop. Alright, great. First word I like about what's next. We've got our we've got our symbols. I think that's quite a good boss. I can crash. It could be sound of Crash. How about we do crashed? So for crash, again, I'm going to start with a shape. I wanted to take him about this much space. I think that will that will work because I have what are five letters. And for this one crashes actually more of like a cracking kind of sounds. I actually think that I won't do. I will keep the bubble smooth like this. I think I'll actually make it maybe kind of jaggedy as if as if it's something that has cracked, right. So some sort of chair getting kind of line and shape. That's what I'm picturing. It feels more like it's cracked and he's like a like a window crack or something. Then within that, I'm going to write the word crack. And I think I want the word crack to be I want it to be quite straight because all of these lines are straight. So I'm going to make the word the letters quiet straight. I'm going to sit them within this box. You see I've drawn another rectangle within my bubble. Okay, my jaggedy bubble, it's not very rounded, all jaggedy bubble. And I've got five letters to get in. So I can divide that rectangle up into five sections. Cover ash, okay, so that's, those will be our with letters go. Then I draw in my drawing my letters. This is where you can have some fun. Decide what kind of style of lettering you want. I'm making mine quite straight. Oh, actually, you know, I've got an idea. I'm going to make the ends of my letters pointed so it feels like a crack as well. A crash. Crash. Make the a kinda pointy like that. And even the S. So if an S MOM, it looks like that Going live at 0.0 point the end. I can make it more angrily. Okay. Crash under my h and I'll make it point as well. The ends of it would be pointing. I think that kind of goes with that jaggedy looking bubble. I think I can ink this. I think I can even actually know what the good. Probably showing a few little bits that have crashed off of this bubble. It does not work, I think so. How's that? It's not because there's only a little tiny one here. I can ink this now. And then we can get in a few more words. I think. When I ink a word that has a bubble, I begin by inking the word. When I started sketching it, I started with the shape of the bubble. But when I go to ink it, I do the word first. The reason that I ink the word first is that it's much easier for me to fit a bubble around a word than it is for me to fit a word inside a bubble once it's inked. Because if I wanted to say I pushed my letters out a little bit further, say I start inking on what I think it needs to be a little bit longer, a little low further out. And I can adjust my words. But I don't really want to be adjusting. I mean, I can adjust my ball, but the words, they're much harder to change if you already inked your bubble, crash. And then my chickadee style of buckle. Don't always follow exactly the lines that I've sketched out. I might fall to them a little bit as I go along. I think that looks pretty good. Yeah, it looks like a crush. And I think I could almost make that look a little bit more 3D probably by drawing in onto my jaggedy bubble. Some, some lines as if we're seeing a bit of a bit of a thickness of it like that. So it's like I'm outlining part of the bubble. Foreseeing a little bit of little bit of it on its side and it doesn't, this doesn't have to be done perfectly, but I think that gives enough of an idea of how it can look a little bit of thickness. I can do the same thing with some of the shapes. I don't have to all of them. It's just I think that'll add a bit of interest. Okay. Next word. I'm thinking, well, we've got others. We do have our our our record that he's scratching. So I could do scratch or I actually really like to get a sign that says Sounds duty or on the air. The one other thing I'd like to get in is something that we're going like boom or bang or maybe it's like maybe, maybe for the boom is coming from the speakers, right? So why don't they do boom. I think that's good. There could be a bill and I'm going to do it right in there. I'm gonna do, I'm gonna do Bu right here. This is going to be built right here. Boom. And then I'm going to fit in my own air signs gonna go here. Now that I'm down to less space in my drawing, I want to actually think about what I've got left and where I'm going to place it because when I just had nothing up top and I start with my one word, I can put it anywhere and it wouldn't interfere with other things. But now that I'm down to just say two or three more words, I want to think about where they're going to fit in my drawing. I said, boom, I'd like an on-air or studio sign. Like I like the idea of doing the studio sign like we saw in the in my intro drawing. I think that could go there. This is on air or studio, maybe a monster studio sign. So that's where that's gonna go, sketching the shape. And then I move on to the next thing that I think I want to put it in my drawing, which is, I want, I want boom, okay, for the speakers and I won't scratch to you for this record. So I think Scratch could maybe go along here. I do scratch like a long legs quinolone word. We have what? So I can go along, along there, like it's long scratch. So I'm going to do it into that shape, I think. Then my boo, I want to be fairly big as well. It's going to move there. Then I may have some little spaces left, but I can always fill those in with or maybe there's a little sound. Maybe there's like a painting or something. We can put it in a smaller sound or a tweet or something. I'm gonna do Boom next. Okay, so now that I've got in my remaining shapes that I'm going to be filling in. Next is going to be boom. Boom is a big heavy sounds like the sound of the bass, whatever coming out. So this is where my shape that I'm going to fit. I'm going to fit all my lettering within. Now I need my lettering is going to go inside of here and boom, I want to feel like kinda big, heavy letters. So I decide are those going to be kind of rounded? And I do rounded letters for this, okay? So I need four letters and I'm going to fit them into this oval. I'm sketching in for ovals within there. So I can fit in BOM, BOM. And now I come in and I sketch in my letters and Monarch And we kinda, kinda bubble style letters. You might picture them as being bigger, square letters, it's whatever you think, okay? For me, I picture them being rounded. So you know, kinda bubbly letters. Boom. Okay, that's good. And it's going to be doing like a curvy curvy cloud. Cloud shape is what mine. Ovals turning into. Boom, I'm picturing it like a like a bolt of thunder and a coming in that would make a boom sound as well. So maybe that's why I show my initial bolt of lightning coming down through 0 is going to introduce Harold derivations that over where would it go Here it is, I'm going to come inside is six. I've got my I've got my studio sign that's going to happen up there. So I better put it I'm going to put a lightening bolt in. Then I better do it. I better I better do it over here. Yeah, that'll fill in that space nicely. I think if I can come in like laugh and made it taller. But Utah is going to be set up differently. Everyone draws your eye to the different tosses a little bit differently than what it comes. It comes down here. Boom. Little bolt of lightning through. Play around with those things, right? Like it doesn't have to draw on the way minds. John is just an idea of where something can be placed. Look at your drawing and think about what's going to work for your drawing. Like, I didn't want this end of this lightening coming into my character's head, not enough space for it, so I moved it over, but maybe yours goes straight through the center. It's all a matter of how you've set up your drawing. Okay, I can ink this guy. My boom. I start with my letters. Okay, So my words first. These are something that I take my, my timer and I'm probably to do this little bolt of lightning. And then the cloud continues around. And the other bolt comes out. Like I'm in the the big find where we had all those tools. I sort of hide them within a bit of sand. Same thing here, except I'm hiding, hiding the bolt of lightning within a cloud, right? So just gets chopped off and it goes like boom, okay, It's quite good. Next crash tube is quite a contrast there. They look quite different. Next I'm going to put it in my I'm gonna do want to scratch. I'm gonna do scratch and then I'll do the little studio sign here. Studio. This is crash. I mean, scratch, scratch, scratch, scratch. I'm going to do it. I think it needs to be like a a a jaggedy shape itself as if it's been like a scratch put into something. Okay. And then I'm going to put my letters in a kind of jaggedy fashion along that I think that will feel like I'd like a scratch. But again, you may have a different idea. This is just one way to draw the sound scratch. Meeting. You pictured it more within a shape of a record. Or it could be like that. Kind of a tricky shape to get the word. Scratching too. So I'm gonna, I'm gonna do the letters quite, quite straight. I think. I need to get in. Let's see. I wanted to say seven letters. Okay. So there's a new 1234567. So all I've done is given myself some little shapes where I'm going to draw each of those letters. And they don't this doesn't have to be the shape of the letter on I'm going to do, but it shows me the places where they're going to go. Onto my letters. Scratch, how should I do this? I think I want to do it. It needs to be initially with jaggedy like scratches S work the letters up into some of these shapes. I also T there. And that's my A's scrap, scrap. And then here's my tea. So I can go right down into this point, C and the H. Okay? So you'll see this better when I ink this. The thing about the words is that there's quite a bit of building up of shapes in order to get them to fit in. It's not it's not always a neat process. So here are my letters and this is the one where I want to ink the letters first. Especially because there's so irregularly shaped how all over the place They don't even follow a line. Here's my a then I almost made into a tea. Might have been quite good to, to have lettering that was a bit jaggedy, right? That would have been another way to represent or show the word scratch. And now my my bubble shape around jagged global shipping routes. Okay. Oh, yeah. Scratch instead. Last but not least, the studio sign. Got to get that in or could they on air? It's up to you if you want to say on air, studio, studio, just going to write this. So I don't know that much space actually. I'm gonna do on-air, do on air because I've, I've, I have a limited amount of space. This is my little rectangle where I'm writing on air, 0 a n a, i are on, on air. And then it's a rectangle around it. Again, not perfectly rectangular. Lights. It definitely needs to have some little circles all around it for lights, I think that will look fun. Circles provides and that can be linked. Sometimes I will ink something when it's really, it's quite rough. You don't have to do that. You can always do more careful pencil work before you ink. It's again, as a matter of how you like to work with this trying again, you don't have to be working in pen, right? If you want to do this drawing entirely and pestle. That also works on air. Rectangle around it. And my little circles for lights. Just feel like he's in the studio. We use what kind of my on-air. Brilliant. Okay. Those are all of our words. So I'm going to erase all my pencil lines. And then what I'm going to show you is a little more that you can do with your lettering if you like. You could stop at this point. Okay. It's a matter of how you want your words to lock, but I'm going to show you a few little ways to add some more 3D effects to your letters. And all you need for this is you can use to block fine liner. Okay. But it might be depending on how thick it is, it might be a bit fine for it. But like I said, you tend to it. Or you can use a black marker that will that work. Or you can use a brush marker. So I'm going to do some using a black marker and I will do some using the brush markers. So you can see both ways and have a think about what might work for you. You don't have to use a brush markers. So I feel like it's licensed. People don't. I find that's the way with materials you can use to what you know, what kind of works for you. And it all depends on your style. I call them, hope Susan, haven't got bold line. Lines are enough not to do the next set of thinking. Okay, so I'm going to grab my plain old marker, okay, So it's kind of a thick ish black marker. And I'm going to look at, let's say boo. Okay, so what can I do with my word do to give it just a little bit more of a pop. I think I could just color in the little dots of the, of the word boom. And then the other thing that's really cool about this is the, I think it's the lightning bolt going through the Cloud. So what would it look like if I just outlined one side of a lightning bolt? Is that enough? Then I looked back and I decided that enough. It might be that might be enough. I could possibly do a little bit of underlining under the word maybe or fuel little ticks along the bottom of the cloud. I'm going to leave it there though. I'm going to look at another word. Let's say, let's say I'm going to go to crush. Now for this one, I'll pull up my black brush marker and how they'll think about what I could do with the word crash. I could go in and color all the letters in, but I don't think I'll do that. I think all I'm going to do is a little bit of blocking in some of these double lines that material. And I'll see how that looks. I mean, I don't have to do it super carefully. I could do it. I could do it faster and loose it, right? Not everything has to be super carefully colored in. Let's see how this looks. I'm doing is just on the on the bubble and a few little bits on these cracked off parts. I'm just wondering if it needs it in the word or not. I'm going to leave it there for now. I think that looks quite cool. Now, what other words? Idea about Scratch. I'm going to pull out, I've got another brush marker. I'll show you when I'm thinking of it for this, this is still slightly, the actual tip is bigger. It's a Tombow and it's also a gray. Okay. So it's not black one but a gray. And the word scratch, I think I'm going to come along here. I actually drew in an extra line underneath the Jackie bubble, but here I'm just going to outline it. Let's see how this style looks. To exaggerate some of the points. I look back, I think Danny boy, I think this case I'm going to try just quickly going over the lettering, scratch with my gray brush marker. This could have easily be done in a black one to two. Then I look back, is that enough? I think so. No, I could just do something on on Pop. I think with pop, I'm not going to do too much, but just a few of these little bubbles. I'll darken down that. Not all of them. Just a few of them. And I think it does need a little bit of outlining of the word. So I'm just going to outline one side of the word. Okay, So I've started outlining the left side. So when I come into this part of the p, I'll just outline the left side of the curve of P that I come to the 0. And the outline left side of the curve of each part of the 0. Again, my P, left side, left side of the curve at P. I'm here to do a little bit underneath too. Good. I like pop. Now, let's see, we've got 0 and I'm on air. On air. I need anything done to on air. On urban do the opposite. I'm just going to color in the inside of the bubble. I'm going to leave the word, Okay, I'll leave the word white as if it's a light. And I will color in, inside of my bubble dark, this would have looked quite good, colored in black actually. But that's alright. Great. Well till you get all kinds of different grays to, this is probably a cool gray. Can't see the color on it. I think it's a cool gray. Once I've done it and I look back and I think a little bit more, so I'm gonna go around the outside of the sign. I just wanted to feel like it pops up off the wall a little bit like that. Done anywhere else? Anything else? I'm going to grab my black brush marker game, and I think maybe just a few little lines to exag 14. Surprise! I'm alive: Now we're going to come back to some shorter sketchy exercises as we start to create our own cool characters. For this one, I'm going to show you how I take everyday objects and turn them into cartoons. Here's one, this is my favorite little pencil. I turned them into my cartoon character, Huey. So for this exercise, all you need is pencil and paper. And of course we're going to need our everyday objects and get ready to turn them into our cool characters. Here is my first everyday objects. Well, it's an empty object for me. It is a well of ink. And I'm going to use this as inspiration for my character and see what we can do with them. Now, normally I'm gonna start with shape your life and maybe start with a circle. We start with a teardrop before I'm going to use this as my shape to influence my character. Let's start right there. I'll leave it out a little bit on the slides here so we can see it. You can grab your pencil and draw along with me. And I'll talk you through how I let the object influenced my character. But remember, feel free to change the character. However you see, you may think differently from looking at an object and I do. So I'm sketching in the shape. What's going to turn it into my character? Here is there's the body part I may have is two square, I think I need to Bring it out. He's a well of ink. So I want to exaggerate this part where the ink is. Alright? So there's the first thing is I want to feel like this is the right shape for the characters. What I'm picturing is his body. Because I feel like the top and the cap that can be more his head or maybe the cap could be made us literally like a hat on his head. All I want to think about it. So next I'm going to come up and do the next shape, which is a rectangle for the, for the cap. And it's a little bit further in from the sides. Okay, So here we go. And again, I don't have to draw it exactly like the shape of the actual object. But I do want to think about what is characteristic about this shape that I want to include my objects. Now here, e.g. on the neck part of the of the jar is a little lip. So certain things like do I want to include that? Is that important? I'll try what do I want to snap to come in like this? Or is it a character like this with a slim neck? Don't think so. I think she kind of liked that little curve. You're going to include it a curve it out. Maybe those are those would be like his cheeks. Maybe those are a little bit cheeks. And I'm not gonna do slim neck at all. I'm going to bring it right down like this. Maybe this rectangle, these cut down walk. Again, I'm playing around with my shape, right? And I'm thinking about how the shape will help to create the character. So yes, I hope not little curve there. I don't want little curve in. I want them to be short and cute as well. I'm picture of short, cute little while. So once I'm happy with my shape is a short and I might Emily's little, tiny bit, a tiny bit shorter. Let's say. He's he's probably got his phone. I've only had it. Good. Start with. Alright. Now, use of our drawing was shaped, bone, draw the shape and then come in and start with the eyes. I think I'm going to do that in this case, I like that idea. I think the odds are really important on this character where I placed them. So this is again, something where you can play around. Do I want the eyes up here? Big, cute there? Do I want them further into the characters? Into the character's body? Is this his head or is this a hat? You know, is that it can imagine that that's a hat. I put his eyes down here. This is where I play around with a few different options and do the same thing. Okay. Where do you think that I should be? Where do you feel like they are on your character? I'm going to put my eyes here. Alright, I'm going to stick my eyes. Maybe they pop up just a little bit, actually come with just a little bit above the lid. And they're going to be spread out again. How do you want them? Do you want your character's eyes together, like two circles together? Do you want them big? I'm making mine kind of medium. Medium in comparison to the characters overall shape. And I'm going to stick up just a tiny bit above his little chunk considering to the top of his head. Because I liked the idea of using the This little curvy bit to be his cheeks, I wanted to look cute, which implies to me that I need to put my character's mouth here. Now I play the game. What I want. I think I'm happy with small iPad I should, but I, maybe I wanted a bigger mouth here. Look at that. How does that change the character or could make that into a nose? I don't think I'm gonna do it, but it's an option, right? There's no right or wrong. It's all a matter of how you see it and what do you want your character to look like. But it's something worth playing around with. Unhappy with the eyes there and the pupils. I want it to be a little, he's quite cute, so I'm bringing the pupils in closer to the center of the eye. So he looks a little bit cuter. Maybe I want big pupil, Sam even want big circles. I like the little ones though. I think this is, this is his style. That's my style, but it's the same with you, Like you choose what your style is. This line straight across my character's face on it. And just see what it's like if I take that out, no rules, right? I can take that out. There's no square little hip. Perfect. Now, I have this body. What am I going to do with it? Okay? Am I getting this character like big arms? What's he going to have is going to have stick arms. Have Stick, Stick, simple stick arms, simple stick legs, top odd. But he is a world of ink. So inside his ink. So why don't I use that idea? So instead of doing stick arms, I'm going to use the idea of ink. So how about what if he had little drips, I think trips of ink for his arms, hitting P waves, one. Here he is waving, waving his little clip. I think I'm going to put it down here. So you just have some down by his side. Are they big enough? Level would definitely they need to be a little bit lower? Arms need to look. Again. I play around. I don't I just sketching and sketching out ideas. I see why. He's looking quite cute. What I think feels right for me and for my style. Now. Okay, the stick legs don't really go because I've got the nice little drips for his arms. I can make them longer. It's quite cute like that. And what am I do? Little drips of ink for his feet. They don't like that. Trips, I think. When I've got an idea that I like, like the drips of ink, then it could be something that I want to reinforce or do more off. Okay, So that's what I do. I like that feature or that idea about this character. And so I exaggerated a bit and I do it a little bit more. So maybe go. Yes. Oh my gosh. I have, you know, playing on the idea of ink. Let's pretend. This is, the salons are quite dark and solid. I'm pretending my heart can see inside of well, I hear you. I can see his ink sloshing around inside of his belly. Here he is. And I draw it so that we know that this is a glass jar, right? So here's a little way. It goes like this. And here I've taken what was a large space and divided it up as well. So it looks like he's, you know what? That's like. It's a equivalent his design on his T-shirt or something like his clothing or whatever. But that's close if you're a well of ink. Again, coming back to my idea of the ink drips, what about there? I haven't done eyebrows. If they're a little, little drips, drips of ink. Orange, I should say, in the shape of a cup with the right way with it long or down his eyes. I'm like, Look here. It makes him look kind of questioning, curious, curious, Willie. Here he is curious. Well, what about wonderful ruffling? There is no reflection. Reflection mark on the glass. When Louisville, Memphis in here in blue reflection mark on my glass. And now I'm happy with him. So I outlined them. I'm just this is just done in pencil. I'm not going to ink. He's just he's a little rough idea. Same thing starting with the character's eyes. Mouth, loves the drips of ink for his eyebrows. It's arms. If you were trying well, you're welcome. Look totally different than mine. You might like him like this. And then I have a look back and I decide. Just pick a few of these slides. I'm going to decide does he need anything else? Anything else that could add to my character? Will neaten this up too much. It's not a finished drawing. I like to look for flexion or I could maybe put went up there. Um, I paid too much but I see on my lid there are little vertical lines. Yeah, I do a few little p little lines. That helps to draw a bit more attention to his head. Just a little bit of contrast between him and the glass jar. And that's it. That's well, okay. So that's well, well done, good work. Well, next, Here's another minor very everyday objects for me. How boda, I'll put a rubber. There's one that I use. I use constantly be using through the course. So let's take our eraser, erase or rubber in the UK. Here we go. I'm going to turn my rubber into a character. So let's have a look at that. It's pretty easy for shape. Alright. Do I want the shape straight up and down? Do I want it like this? I come in and draw my rectangle in, lightly sketch in my rectangle. Again, I start the thought process. How, how big do I want? I don't want this TO tall is it tones limb like this is just a little bit wider. You see it. You know, how, how is it positioned? Mean this board a little bit. Okay, Just for fun. Do I show the side? Is it like this? I think it might be a little more interesting than straight on. I'm going to give mine a little angle. Like that. I'm going to show a bit of the side of the rubber. Am who angle again, low angle has that. My character is, he's leaning in a bit. What else is going to influence my idea about disrupt? All can live with there. Again, I'm going to start with the eyes. So here's where you play around. Where do I feel like my character's eyes are kinda like some at the top here. Let's see if they look good there, there's an option. Or they together, I'm going to make them a little bit, a little bit apart. Again. That could have been somewhere else. They could they could have been on the edge, even maybe they're tiny eyes on the edge. Or there could be. This is not a bad idea to bigger, bigger eyes right within the rubber, but he has this paper cover on, right. So do I want that all? Maybe I do, because I think if I may be able to do something with that. So here we go. I'm going to leave my eyes at the top because I liked the idea of using this in my drawing. So let's add that little line there and a little line there and pull it up from where my gosh. She's going like that. Alright, what it looks like when you get a new one as opposed to when it's been used. So there we go. And the longest size a little bit. Because this I can I'm pretending as if this is like his eyes closed and, you know, he's a he's a super, super rubber rubber, something that it's saved you, right? Because when you make a mistake, you can come in and fix it. So I think that is a good concept for my character. He's like a super rubber and abuse like a superhero rubber. Now I'm going to come in and do his pupils. Where is he looking? He's, he's standing facing that way. So I'm going to put his pupils here. He's looking up at Yale. He's like, I like the idea, these kind of brave. He's like shapes the rescue. And simple little mouth. I don't want that to be too big of a feature. It's not like he's a monster or something and he's a giant mouth for me, it's just a little Mel, could be off to the side. That might be quite cute actually. Let's see what that looks like. Yep. That's quite good at it. Maybe more like just a little bit, a little bit asymmetrical, just a little like that. Since I have this rectangle drawn a bit on the side or over here, we'll Severus that again. Clear off some of these lines. There's something right? I mean, look at what does what does an eraser do? You get these little shavings from it. So maybe I need to use that as my df for my character. I bought him with his little clothing because outfit. But I need arms and legs. So here with well, we did a little drips of ink for his arms and legs. What am I do? Little eraser shadings. Here. Here's arms. Arms like this. Little curve is. Okay. They look like little law, like little eraser shadings. But he's got his hands on his hips. And I can do the same thing with his legs. Curved like this. Maybe I want to just to kinda sturdy so I might curve this. I'm going to curve and what curtain like this. There we go. Yeah. He looks a bit more sturdy that way. I want to feel like he's balanced, little bit longer, little bit longer. Remember, you may see this differently. Maybe you want to be watched shorter legs. Maybe character doesn't have to have legs, right? He can be just like that. It all depends. Characters can be really great even when a very, very simple no rules in how you design your characters. And we had the great idea of having little ink drops up there for Willie's eyebrows, I'm gonna do a little razor shaving, shaped herself. Good. Little eraser shading shaped eyebrows like that. And you see a little bit how the mock site just you have to have as Melba no way to close. I'll get it close. But he might look like if it is not, but he's not he's not talking about it now. But that will work. Things I want to think about when I do have a character that I'm then going to draw into different positions in that knowing that I want to leave some space in here for me to move around his mouth Tibet and change it. But for now I think I think that'll work. And I said I'm going to call him. He's like a super super shave. Okay. So he's going to get an S. Like you said, it will send symbol on his, on his paper outfit here, a little S shaped. Since he's, he's kind of like a superhero. So what am I take? It's as if I've taken the back of my little paper cover here and then a split on a like flies up back leg a little bit like it's got a little tape you see? Now who really looks like a super shapes. Appreciate it. If there needs to be bigger, you probably want it bigger. If you want a bigger, How do you feel? Shave. Choose more lines and outline my character. Michela, I'm not doing this on an ink is just just the way that I play around with objects to turn them into characters. And I hope that gave you an idea of the kinds of ways that I can take something, you can take something simple and turn it into a cartoon. And it's the same process that I use by best starting with the shapes. Then I allow the objects to help to influence or inspire me for how I'm going to draw the character and for some of the characteristics of what the character is like. Ears. Here's our shape is also like a shaped like an array of equina razor shaving too. And I think that does it. I think that represents shape. I can clean this up, this drawing up a little bit. But again, yours. As you do your shapes, making different, you don't have to understand like me, there are lots of different ways for seeing the same object and creating characters from them. If you want to give yourself a little doodle challenge, have a look around, see what's simple objects you have lying around your house. It doesn't have to be something complicated. It could be, could be a book, could be a marker. You don't have to use stationary like me. It could be could be science. I had a student who he drew a spatula and turned it into a character. And next the medial half, the people in class for drawing a spatula as, as a cartoon character. So there you go. Anything could be your inspiration. 15. Furry, Fun and Fantastic Lines: We're going to play around again, except this time with live, we're going to see how line can inspire us to create our own cool characters. What we're gonna do is we'll start off with some shapes. Then we'll draw various types of lines around each of them and see how that inspires us to create characters. For this one, all you need is pencil and paper. And we're ready to create our free font and fantastically characters. I'm going to start us off with our line exercise by starting with a shape. I've grabbed a super simple little circle and another, another shape here for our second shape I thought we'd do to, you could do three on one line and three more shapes on another line. And then we'll get into our line exercises. So I'm, well, maybe some more similar sizes are kind of different, but I'm going to make them more similar when I draw them. So first one, first mine. On the first one I'm going to put three circles. No, my mother-in-law and sketch that. Starts off talking a little bit like the exercise we did with love. Modes do on a couple of lines drawn across my page. And the first line, I'm going to give two circles. I'm often too big. I'm gonna give myself a little space around. I'm not sure if I'll add, you will add arms or legs, these characters, I'm not really sure where. Three circles along the top. Then my next line is going to be this kind of shape. It's a bit more oval looking than a, than a half circle. A little bit elongated, a little bit longer. But I might make it I like that. You know, something about belt that they fit nicely on my page. That gives me six different areas to play around with light. Remember this exercise is just about playing around. These won't be final finished characters that just for helping to inspire us to come up with some cool characters and different kinds of ideas for characters we would go. So let's start with the circles. I think that'll be a little bit easier. And what I'm gonna do is I'm going to be drawing different line types around the circle. So slightly like we did with the Stickman, where we draw the stick figure, we draw the stick figure and then we'd, then we draw shapes around the sticks to thicken up the lines of our character. Here I'm a little bit, little bit, little bit similar, but where do you draw the various line types following these shapes and see how they can inspire me to have some new and interesting characters. And I do want to start with, It's just like maybe you like a curvy kind of lie. I'm thinking like that though it looks a bit like a cloud, curved lines and then enumerated types that I'm doing. I'm just kinda, maybe this is spiky, spiky line around. See I'm following the shape that I've lightly sketched it. So you want to use these shapes to be quite light. And then I need another line type, maybe more spiky. Spiky like that. Well, this is tall spikes, is this, I should say more Fourier's, more like, more like for you. Sure. I don't know. It was you can play around with the line types. If you don't like one that you don't just erase it off and try again. But I think those could make fun characters. Again, I just follow the lines that follow the circle and let that give me my basic shape for my character. I think I'm going to start by creating some of these into characters. And then we'll come down to the, to the other shape. First one. The first thing I'm gonna do is add in some eyes to my character c. What would feel I could make a character with? Maybe I could wide apart eyes like below, calling this the Z. And I think auditing your nose. I don't think so. I don't think looks right. What about does he get a big mouth? Not quite so big. So play around with yours. I'm going to change the eyes too. Wide apart eyes. I think I'm going to do eyes that are closer together because he's circular like I think, oh, do I want this character can have arms and legs and maybe I'm going to get the eyes in. Let's see if I think I wanted to be a little bit of a surprise, maybe roundish, roundish style. Eyes that are together. Yeah, you know what? Since there's little curly line around, maybe I do the same thing for little, little eyebrows. Let's see how that is. Little eyebrows and I could make the eyebrows are curly. Curly eyebrows. Maybe. Then his mouth, it looks like a surprise. Remembered his pupils that how does that look? It looks a little bit surprised. Maybe I'll give him a little open mouth. Dropped like this. Yeah, maybe maybe some curve like that. Yeah. My curve the mouth. I prefer tongue. Tongue in there too. Yeah. I feel like that. Does he need arms? Like I'd be looking. He's a little something else. Arms. He's going to his arms up because I'm really happy with God. And the same thing I think I'll do curve ease. I'll let this line style influenced my style of fingers that I draw. If I just do little curves around similar to the line I've drawn around, my character. Doesn't need a little feet are just not be enough like that. Let's look. Little feet that I don't often see. Let's look good. You need feet. This is where sketch something on. I'll erase it off. I'll I'll decide you don't do it like that or not. I'm going to leave it just like that. Okay. Next character and Shelby all outline them. I was going to come back in at London afterwards and discard them right now. Just darken them, talking them down. I like the curly eyebrows. I like the curb enough and do some spirals on this. Maybe a few a few little spirals around that line. And I think that looks good. Maybe I could have even curved up part of his arm, Laura. Sure. That starter kit character. Now I've done this spiky one, which I love spikes to be this long, I can decide to change. Maybe I make the spikes straighter. I can play around with the line type that I've drawn. Maybe I straighten out those spikes of it. Let's see how that looks. Make him a little bit less red looking because I have this one that's quite shaggy for a living. So I'm going to straighten out the spikes and maybe I add him, he needs more spikes on how to do that yet, I'm going to do the character's eyes and see how I feel about him. Then I can do some just sat over the eyes there and maybe put, you know what, I have this spiked line, maybe high, maybe a little angry. Maybe I maybe not ankle the eyes. Maybe I'll make the eyes like this straightened out a bit. So maybe that's the line of course, pupil or maybe both pupils higher up. Maybe the longer, the longer. Or maybe they are braces off and try again. Maybe his pupils are like triangles down at the bottom of his eyes. Oh yeah, maybe that's it. Let's see. We'll make that a little more severe looking. Okay. So what angle to his brow does he need eyebrows? I can make triangle eyebrows. Maybe. I'm going to put his mouth and is it a triangle to triangle? Triangle personnel or, or maybe he is. Maybe it's an 0 pin triangular mouth with triangular teeth. Wow, it looks quite scary. I wanted to be a little bit nicer. I'm going to give him I'm just going to give a super-simple little triangle mouth, trying to decide if I need those spiky eyebrows. What if I add does he get other spikes on him too? I add more line around. I'm not going to put I don't think you need legs. I think it's too much. It doesn't need legs. He just floats around like a like a spike man. But I might need additional bikes on him. Yeah. I think I like the additional spikes has that there's enough is enough. And again, play around. I keep I need the eyebrows. And again, you know, put things on, erase them off, play around. I don't know if I do need the eyebrows. I'm going to draw him like this and see how it looks when I've gone over him with darker lines. Saturate those triangles, the pupils of it. He's pretty good. I'm happy with him. Maybe I don't know how a leader without the eyebrows, I think there's enough with him having all these spiky is all around him. Onto my third character that's all created from this circle. I like the just the furniture to be any different. Is it smaller, conifer and it was a finer yeah, I think it's okay, I'm gonna give this character eyes. I've got to get the headless, slightly two different sized eyes. I feel like he says on more and more fun, this guy seems like his father. Raya, around all those eyes maybe bet. I would like them together. I dropped my eyes together frequently. But they might look good for Adam. I don't want them further apart on this character. I don't think closer together and their use bigger pupils, maybe bigger pupils to different sized eyes. I like that. And does he get furry, furry eyebrows? Yeah. Maybe maybe very, very eyebrows. Go up for e-mail. Is for the sides. Does he get a big a could do a big multi-story condos, actually grab a big monster style. I think with this character though I'm going to keep the long nose smaller, anteriorly simple, maybe eventually sell side. How's the mouth had his mouth looks a little bit to the side like that. And I haven't given arms to this, nothing to this character, this character, I can get some arms. So he read a little bit like the eyes, like the monster character was monsters that we drew with the expressions. Except teeth with arms and legs, fuzzy, fuzzy legs. I like him. More, smell, more to the side. How's that? This style of character? I haven't drawn the line fully through the center of his eyes. And it kinda like, kinda like that. Sometimes I like doing this because it enables me to move the pupils around even more. Versus when I have an i style like this where I've drawn the line completely around the oval. Move the pupil over so far here it allows me to sort of move those pupils around more to give my character even more expression. But again, it's a question of what style you like drawing on how you want your characters to look, at least the handwriting of the way there. You also had other finger to log n is big, fuzzy, fuzzy. The theories. I'm going to hit my patient about shoes on. I don't know if I like him. Oh, now we're onto our bottom line of characters. This sort of elongated half circle guide is. So again, I come in and I start doing some different line types around my character. Now, just because in these characters, I did the same line type the whole way around the circle C curve is all around spikes, all around, shaggy for all around. There's nothing wrong with a line type that's smooth, right? Maybe the line type is smooth and part of it is wavy, right? I could do something like little ghost guy or something, right? So part of it could be wavy line or the whole thing could be wavy line, right? It could be like, oh, like a splatter on a character. Do that. You know what I'm gonna do for the next one is I'm going to combine my lines. Here. I've got straight smooth line I should say, and wavy line here. Maybe I'll do like large wave and just a little wiggle. When I got like a jelly, jelly guy, I'm picturing jelly, jelly character. And then maybe I'll combine it with Spike. Lee will give us some spike. That's more like for annuity, more spike, spike, Maybe it smaller. I can also vary. Remember, think about all the things that you can change. Just because you're drawing another spike line doesn't mean it has to be the same as size of a spike as this character. I could do one where the spike is little, right? So it's not just a little, little, little spike. Look at pitching this price of jelly character with spikes. For my last one, I quite like this spiky line. I'm going to combine it. I'm going to do spiky line. I'm gonna do smooth lines of smooth, but he's moved spiky. So see I could even smooth. Spiky, smooth, spiky nasal spiky here, spiky, spiky, smooth, spiking into this will make his arms and his legs just spiky as long they're smooth and maybe get spiky spiky hair. See you, but I couldn't make it to different line type. Maybe this is Curly, right? Maybe you want that currently are currently on top. I quite like this smooth and spiky though. So back to my first line type. It does look kind of like a ghost, but I don't know how exciting would be if I just put in ghost ghost eyes and mouth. What if I change it up? I could make him we didn't ninjas. I could give them a ninja mask. Maybe he's like this. Then ninja ghost. It could be Ninja Ghost. One idea. What else can I do with this character? Maybe it's like us by maybe I can spy style, spiced up or just some big crazy, crazy glasses. I'm going to do that. Big crazy glasses. I have this curved shape here. I want to do similar curves along here. How about that curve like that wave, wave, like this look on this character that I'm not even going to show his eyes, his name would occur much occurred it down, curve it down. Curvy. Curvy, curvy. Curvy curvy glasses. But it could've been maybe they should maybe be a bit smaller. Like I'm sticking out the side. So how's that? And a kernel do curve. Curvy lens can be lens on the glass. I don't like eight months. Okay. Curve. Does it mean to I don't want to I'm not going to come up super simple mouth. He's a little cranky guy. And for him, it was a light coming through. It just seemed a little, little eyes. Right? And then I'll darken down the lens through the opposite. I'll do the opposite here. So look at this. Start with my characters will normalize it with their eyes and some strain within the lens of his crazy glasses. The pupil. I'm picturing that I'm going to shade in this C. Lookalike, sunglasses. Glasses. Great. I wanted to somebody. I was just thinking, I wonder if I need to add hair to this character. What's his Bostrom out there? And while he's, he's walking this direction. It could be the case and dark and down these glasses that he's got on in there, he might look quite good colored this character, He's picturing him as being purple. And maybe the glasses are all marine or something like that. The breadth of glasses, I mean, high school. I mean, you could have pointed edges of the glass is more. And I came onto the jelly looking character. I kinda feel like he might have big mouth. I'm going to start with, I'm not going to start with his eyes and just like a jazzy feel like eating sugar. Yeah, he feels like he should have a big mouth. Like the monsters Isa, which has two symmetrical play with that, play around with the mouth a bit. This could be a family of bulges, side out here. Bulge decide on a bit worried. Cheek comes out as mouth opens up and cheek comes out from his jelly bytecode is in here, bulging or down but it around. So I'm free to play with the, the line style that I've drawn. Maybe I want it to be and maybe maybe tighter waves would have been better. Or maybe, maybe it transitions, maybe it changes. Maybe it's big waves here, small waves down bottom. I want to keep this basic shape though he's lost. His jelly guy. I think he needs he doesn't need big big guys, but I think that could be uneven. Like this. His mouth is really uneven, his body is uneven. Let's make his eyes are really uneven. 21 up, one down, eyebrows. I've got this spiky hair house. I'm going to get this in omega1 to round out. I'm going to round them out here, round him in his eyeballs and then then this spiky little spiky hair comes out. It's the year two. Eyebrows, eyebrows. It can be really simple eyebrows maybe on him. Actually perhaps lions, lions to cope with his party. Maybe they need to be curved. Let's try curved. This is where keep playing around with things and your taste is going to be different from lightest yellow curve, longer, longer, longer eyebrows, curved. Logger eyebrows and curved? Yes. It kind of helps to exaggerate how asymmetrical or uneven his eyes are when I add the eyebrows. So I think I like that. Pupils. Pupils look with this. Maybe he's a little whoo. Maybe it's like one of those monsters, like silly monster that we did. Isaac buys down. I just figured. Yeah, eyes see pupils in here like this. And I think that will work. Shows the unevenness of his eyes. What's next? Oh, actually it's going to the tongue here. I need a curvy tongue. He needs a crit definitely to query tongue to go with those curvy body, really big, big curvy tongue that we see inside of him? Or should we weigh the way the term weight and image, shovel wavy. Because like a jelly bean and teeth. Just a couple of beat three teeth. Yeah, 3D. Maybe you used to do but I'll put two up, put them in because it adds to how how jiggly he looks with the teeth all in different kinds of positions. So I think I will go with that. So the teeth are angled and the eyes are angled. Okay, good. I like him. So I can add line. Figure. How's that? That's alright. As I come into outline, this is where I let myself slide. Which of these lines too I really like. The reason that I keep it really sketchy, especially when I'm developing new characters, is that it lets me see the different line options that I chose, e.g. in this, in this character is now looking back, I can see, I still have this line here, that light sketchy one. I can see that really I should have just proper character down, down here. But now that I've drawn this line drawing is very hard to resolve. But I can at least see my mistake, right? He's just a developing character. That's okay. That happens with them and what you want that to happen, right? That's that's part of getting it right is you've got to get into a little bit wrong many times. Actually, I should curve is teeth a little bit this character, instead of being So squared off, How's that? Great? And his wavy tongue, and he definitely needs, his mouth is shaded in. But I told her do it perfectly again, these are sketches. Sketches give us some ideas of how to develop our own characters. Like it's quite fun. Blast is my streets, buggy streets, straight with small street with small spikes. Okay. So let's see. Straight and small spikes. I'm not so sure about this character. So I want to clarify one little bit. I do like this. I here, I wouldn't choose those curves over top. Don't like them. I do like the idea of these being his little hands or maybe they point down, it went down a bit more. Let's see. Neither extra. I've drawn three, tend to draw three fingers and logging. So let's make them more like furry little multiple vendors, multiple furry fingers. Let's bit different for me. And the bottom I'm going to make these little bit irregular has now kind of like him. Now the character's face. For some reason. I don't like big eyes like this because he's got the fuzzy hair and I kinda feel like you need big fuzzy eyebrows. So that's sort of sense to me that I needed small eyes. If I want less speed of the eyebrows, arms sketching some crazy lines. Yeah, maybe I'll just sketch around and stuff like that. How does it feel? How does this side of my screen scratchy lines look in comparison to the rest of the character is actually kinda makes them look quite cute. Had these eyebrows, this big, bright up by his arms. His eyebrows almost let him his shoulders. So maybe he gets teeny little little lies in the close together in quite that close. How's that? Again, sketch on some little lines. Can keep his own needs. And what about these big mustache on a guy? And how would that look? He's all about the hair, this character, comb hair, ears. Metal Pies. I'll do this. They occupy simple, frequently draw this style of I. So let's do some more simple. I made it angles in a little bit. Again, remember, think of other things you can change. There's lots you can change. What about the ankle, the eyes, and just a little bit. Same angle of God. Sides going a bit angled. So let's think a little bit about how I was taught. But beginning in different expression in his nose, nose, walking on those simple noses. Is it too far down? A little bit more? Pointy nose, nose. I'll stick with his nose. And then the mustaches, it will all vote. Doesn't need to. All those sides. Play with your line, play with your line. I think it was arms Nash lambs needs to be more, for some reason. Maybe size around my shape and I can still see it. I liked the flat bottom. Unlike this. None of these characters have legs. They really don't need them because they had a nice flat bottom. They're all a bit, a little bit ghost-like or they hover, I should say. Very dull. I think I'm happy with this one. I haven't done a very good I'm going to let me just neaten up these eyebrows on them. Julie coast spec here at the top and the bottom are just the top. Straight. I should know there'll be spiky at the top and straight at the bottom. Just like I've done here. Spiky lines, straight lines, spiky lines, straight lines. And let's see if I'll do that here as well. Spiky load. Yeah, that's good. So again, it's straight lines, spiky lines, spiky line, straight line. And here's his little chapter here I like that. Straight line, spiky lines, straight line, straight line. Like you use. Who needs legs when you're going to have Spike, he's terrific. Alright, so you see how we've been able to design six very different characters, all using line type. And up here we did them fairly simply because we kept within the shape, simple circle. And then we did one line type all the way around, spiky line, all the way around, through line, all the way around. And then the next thing was to come in and decide the character's eyes. What kind of gives them their own personality, right? So different style of eyes on all of them a little bit. These two are quite similar. But then allowing the line type to inspire or give me ideas for what else happens in the characters, such as the triangular ish, eyes and V-shaped. What would be eyebrows and extra spikes on them? Spike for his mouth. And then coming down to our last row where we had our elongated half circle shape. And I looked at all of them are revealing a very simple no, no feeder, anything. But here we varied the line by having two different types of lines. So here's straight line, wave, wave and spike, spike and straight. And then again, very different types of eyes. And sometimes in this character, the line is very, very simple. And yet one addition of one type of a feature like cool glasses or something and he's a great character. And another one. The main features is something else but influenced by his jelly like boys, so big jelly, crazy, crazy mouth, right? So that's his big, big feature that really characterizes this guy. And then my last one, again, I repeated straight spiky, straight spiky all the way through, even to his other features like his eyebrows and mustache. So if you want to give yourself a doodle challenge, grab yourself another shape, I'm going to sketch an ellipse shape, I should say. How about you could do line types around a triangle. We've done this one before, but maybe move the trunk along here, do a couple up here that are like this, and a couple down here that are on different angles. And then draw a different line types around and see how that would influence a character. And you may think, Oh, you're right, triangle, you naturally do spikes, but try not to try and go with a curvy line like this. Or what about a triangle that is a wave around. It just creates a different basis for your character versus you see. What about another shape? What about a simple shape? Here we did circles. What about the chart just doing squares. Squares, what about C? You imagine him, okay, a square. And then for every line all around this guy, what could you do from that? There's a little doodle challenge, so that's another way for coming up with your own characters. 16. Doodle Cartoon Bunch: Now I'm going to show you what I do when I want to take one character and turn them into a whole group of characters. We're going to build on our last exercise for this one. I'm going to choose my favorite character from that one. And I'm going to create a whole bunch more characters all based around that one design. The difference here is unwilling to doodle these characters, which means I'm going to work entirely in pen. No sketching beforehand. You may not be comfortable working straight and in pen, but it's another way to spark and inspire your imagination. So you may want to give it a try. So all you'll need is pen and paper, and we're ready to doodle our cartoon bunch. To start this exercise. I'm just going to pull up the characters that I drew from the last exercise. Because I'm going to decide which of these little guys I'm going to use to create my little village of characters. I think that I will want naturally. Think of either of these two as the ones that I want to use to create my big bunch of characters. I feel like I'd like this character. But this character, e.g. I don't think there's a lot that I can vary as much in him. Same with this guy, well maybe more so in this guy. And likewise with the, the ghost to capture with the glasses. Although again, I shouldn't say that because once you get going it you can always change a lot of things. Like maybe they're a whole little village of characters, all the different, different style glasses, or maybe they're different colors. But I'm gonna do one of these two. And I think I could have been naturally want to do this character. I'm going to choose him because He's got, he's got arms and legs and feels like I could change them into a bunch of different characters. Like I could make it a little girl for character and then a little, maybe a little baker for character. And this one will be good as well, but I'm gonna go with this one. So have a look at the drawings that you did and choose one to do your doodle challenge with. If you don't have one that you like, then you can do this little guy with me, my little fun furry guy. Alright? So again, like I said, I'm going to do this simply by doodling. This is playing around. The idea is I want to see where I can take one character when I play around with him in a bunch of different looks and scenarios. Okay? So I don't expect these to turn out perfectly in this gonna be randomly all over my page. I'm not making any plan for this. Okay, so I'm just going to press the whole doodle, my little, my little guy. So this is our start with his Fourier line. I'm drawing these smaller, okay? And always very eyebrows, eyebrows and his, his eyes there together. Now I'm going to make them looking up this way, remove the pupils around. One little change. Maybe he's got a little frown on. Okay. Oh, I hadn't I hadn't waving. I'm going to make it so that his arms are down. We did that lonely character in one of our exercises on capturing expression. And we had that character with his arms down and looking rather sad. So there's a sad version of this guy. What can I do next? Maybe he's looking over at his friend. So here's his friend. I will start by doodling in his shape. This is a, this is girl, fun fairy guy, girl, girl, girl. And she's going to be, she's handing him something and we don't know what it is. Here's your finger, which is handing him something for some reason. He's not he's not happy about what he's getting handed. Years. Her eyebrows. She looks down at him for some eyelashes. I think that will work for making her loved with different, let's say if I give her the different lips, How does she look? Again, it's just playing around these characters. Maybe she's the teacher. She's a teacher. How about that? She's handing him his homework. Where can that lead me? I'm going to do another one. And I'm going to do this is going to be, I know this is going to be a character and I start with a little, maybe there's a half, okay, this is, this, this character's schoolmate. Little hat on him strives for. Now, the reason that I'm doing this as a doodle and I use the term doodle, maybe interchangeably, but my doodle, I mean, I'm trying straight in with the pen. Not planning so much, right? The reason that I like doing this sometimes is that I might make mistakes. But it's makes me slow down. I'm gonna take this he's going to carry put him with where to carry his school bag. It makes me slow down and think about various ways that I can change my characters into different, different scenarios, different situations. And also because I already know the basics of the character's design, I'm not really working on that so much as I can keep drawing the same character. But maybe he's holding a basketball basketball curve like that. But I'm not positive of the design of the basketball. If you look that up, That's okay. Regardless little. We've got the teacher. The teacher may be Neizha hat or something else on there, but I'll leave her alone. What else can I do? How about there's hair, there's a whole character here. I've got one, I've got no idea he's going to be so I start off with his name. He's got a little bit longer for honors for rehab areas and he's he's putting his eyes, I think that this character, he's gonna be like he's at school as well except to use, He's eating us eating a sandwich when you're dealing with the books. He's not supposed to be doing. This teacher hasn't noticed, used to eating, is eating his, eating his school book. So what's the pencil? I can be I can be messy and sketch around and see all kinds of different lines. When I'm doodling. It's almost the opposite. Lineup put down is going to be there. But if it goes wrong, it's all right. Sometimes it's one of those situations. There is eating his book, what's it called? It called for, but for book on, for his eating it. But if something goes wrong in the character, doesn't matter. It's just a little because sometimes I haven't been in this characters eyebrows, maybe they don't all need eyebrows. He's only got one. That's okay. Processing. So if something goes wrong, sometimes I find when something goes wrong and it's permanently on the page. Sometimes you can wind up with some happy with what I call happy mistakes. Because my, my art teacher, she would call them happy mistakes, happy mistakes. So you can see something that happened that you weren't planning on. And it can inspire something new in your character design that you wouldn't have imagined otherwise. It's a different way of working. And it can be equally useful in helping you to create your own characters. And really built, I'm going to give this guy a little shoes. Oh, it looks like shifts. And also provide you with ideas that you may otherwise not have come up with if you keep working in the same way. So maybe we'll do this guy Scott on it's like, Oh, he definitely has eyebrows. He's got a little it was meant to look like a birthday hat. It looks a little bit leopard spots on it. It looks a little bit like it could be, could be a Santa hat, but there we go. Maybe I do a Wizard. Maybe one of these guys is a wizard. That's what I'm gonna do. That gives me an idea. Okay, So here's the little wizard character. Oh, I better draw the half first. One. Other difference, quite a big difference in doodling if you're just working with Penn, is that you have to decide what to draw first. And it's not always the same as when you're working in pencil. Because you see with the pencil I was sketching the shape and then I would do the eyes. And then I continue building up my character. Let's kinase bigger eyeballs. When I'm working with pen. It depends. For this wizard here. I have to start with the I didn't have to, but I started whole image up draws hand up high or well or video that demos on how high blood was the wizard. I started with the hat because I decided that that would determine where I started doodling. My wizard, I better give they don't have noses. I'm going to give this guy a big this. He gets a big mustache this for a guy. And I think you'll hold, how does it help the older staff, like one of those wizards, staffs. Hey, Scott, maybe it maybe instead of having a ball on it, it has like a football. Football then they can make good, good wizard sometimes look quite look like a football, but that's alright. Sometimes it's useful to think of different places where your characters could be. Here started off and I drew him and then then I wound up at the teacher, whatever. Maybe I'm out of schools, then I can think about what else am I needed a school, whatever it was it. Oh, right, because I drew, I drew this hat. So here's my wizard. But some stars on his, his hat. What else? Maybe he needs, maybe he needs an assistant, maybe it here as a system. So over here, system is is taking a break. And here's a, here's a system that was his assistant. Dramas. Pupil's big enough. And he's going to be he'll be taking he's taking a break too. He's having a little snack as far as eating as well. Maybe I'm hungry. Disguise eating as well. There is eating. They're not sure what this is. Or I should draw on his hand first. Oh, that's all right. I'll just I'll put it on like this and we'll look quite right, but that will do. He's having a little snack. I remember to put the hand on firsthand goes on. There we go. And then I'll draw the rest of my snack with these eating. How do we know that he's a Wizards assistant who I should put a cap on and perhaps Pepsi. I was kept beside him having little seat. Interpreter put his feet sticking out. Look like he's sitting down. It's an odd power character, bit of a different position. It will also show me the types of things that I need to work on. If I decide this is a character I really liked that I want to use in different ways, like in comics or anything like that. And maybe this character, Scotty, maybe there's a, maybe there's a fun fur cat. Okay, so maybe here's the wizards calling over 2/2 is fun for cats. I don't want to turn this character into the ACAT version of it. I wonder how do the uncontrolled actually just start with a basic shape changed at all to be a cat. I don't know. Let's see. I'm going to make it smaller feet like this perhaps. And I'll give it a cat ears. Or maybe it's a character who's dressed up like a cat. Maybe they dress up. And I'll give this one a little bit. Maybe more cranky looking eyes, eyebrows pointed in and they need a tail. And here's the, oh, I should've made a fairy tale Omega three at the back. That's alright. I guess this one does, this one kinda knows what goes with the Catholic. Okay, maybe that looks like a fun for a character cat. It'll take a few more. Let's see How about I gonna do, I'm gonna change this. I only have this one. I want a girl and I'm just doing another girl. I think she's going to be right over here. I'm going to show you the way it was fine. And she's going to be maybe how she's been to the hair salon. So she's got slightly different do up top hairdo. It's smoother. She's gone. She's gotten her her first moved out. It's like opposite of a perm. There she is. And she's here. Nice big eyes, looks across all the lines there and give her a little here's her little hand. She's got her her bag as well. She's strolling along. I should do this character. I haven't done anyone really walking. So how does it look? How can I use my character's legs to make her look like she's walking. She's here, she's coming on what she's wearing, wave to her cat or should have kept looking over. And I'll give her the slope so well, maybe the other ones. When she does need She's smoother eyebrows to smoother eyebrows. There's a little change in my character. I can also decide that, I mean, I've put shoes on this character. Maybe I need to put maybe a hat or something different. Hats, shoes. I'm going to do a beam. I'm going to do a girl. And I'm also going to change. Hello again. She's going to have bangs like this. And I'll do her with shoes, just going to have fancy shoes on there. She's not going to give her a kind of give her some long because if she has long hair. And here it say I'm playing around, I'm pushing the design of my character a bit. And I'm going to see, does it still look like this character fits in with my others? Does it still feel like she's one of this bunch? Or is it too much? If I change the character too much? Oh, she's maybe she's calling her son. Her school assignment back as well to see how she looks. Wonderful dress on her and that's okay. I'm giving her here. She is just going to get I don't know if these type of foot work. I think maybe I need to stick with the characters with these little feet. Maybe not. I'll do, I'll do a few more designs and see I haven't done too many characters in motion. I've drawn a lot of them quite stationary. Let's do somebody else who's say running along. Okay, I'm going to do a little character running along. And I'll see what happens if he's in motion. Maybe I'll make him with all his hair going back like that and maybe this is we're seeing the side view of him. So he's gonna be like this. One arm is back like this and there's other arm is forward like this. How will this look? This can give me ideas as well of the kind of range of motion types of things that I can do with a character's who's designed like this because I made this line the character in one view and think that, oh, I can use them in lots of different ways. And then I can run into difficulty using the character in different ways. Okay, he may not have enough range of motion are ways for me to change him. But I think this guys, there's quite a bit of ability for me to change the character. I stop. Okay, I'm gonna do a couple more. And then, and then that will be a pretty good experiment I think. And how about, or thereabouts out even though they're not broken. But the eyelashes on my girl here she is. And she hasn't maybe the girls, she has libraries. Maybe the girls have no eyebrows and the boys have eyebrows for something. You can do it like that. I'm going to do a little character who is a different position, but this character is going to be leaning down and reading his book. Okay, so here he is. So let's see. It's about because he's leaning on his hands like this and looking down. So they're the little eyes looking down here, down at his book here it is. Areas. And maybe he's changed the eyebrows already. So I ponder a little smile out there are little questioning for our lecture today. And maybe I like the hair flopping overload it. Let's do have that luck. Yeah, He's cute. So just see that. Just see the front of him. One last character. And she will be like I'm just squeezing over here perhaps. How about I haven't done a lot of different expressions ongoing to. This is going to be a little like a character who's angry expression first and then I'll draw character around that. Or maybe she has. What if I get a ponytail? I am only with two pigtails. Not work on this character. Look what I originally he or she has maybe she's got, maybe she's got her arms crossed to do that. Maybe there's one arm over top of the other and has rather I actually got arms go. Oh dear, She's gotten a bit long. So what happens when you don't sketch in first? That's okay. Just a just a doodle. And she's I guess I'll keep her her her legs. I essentially give her eyebrows. Good. I do Any others as do many others about my book and do some writing of the book. That gives you an idea, I hope, of how you can take one character that you've designed and draw a whole bunch of characters based on that one. And starting with the simple version of the character you've designed and see where it leads you. You don't have to do it by doodling and pen if you don't want. You can do this in pencil. But I like doing it with pen because it makes me commit to what I'm doing. And so it may not turn out perfectly with a little look at this virus. Basketball is kinda, kinda balance and when his thumb, but it gives me an idea of the variety of way and the different ways that I can create a whole bunch of characters based on one single design I've done. If you want to give yourself another doodle challenge, you can either build more characters based on the one design that you like or try another one of your characters. I mean, looking back at mine, I think that this character could be a really good one to do a whole bunch of characters based on, especially since I'd have to change the character around to have girls, girls to get rid of the moustache, what would I do instead? I could, that could be something that could be a really good one to do to a bunch of characters from. Alright, see you in the next lesson. 17. Life on Mars: This is a super fun topic. It is life on Mars. We're going to be imagining that we've landed on Mars and we're going to be creating a Mars colony. We're gonna go live on Mars. Now. We're going to draw on a whole bunch of the skills we've learned so far. Everything from drawing cartoons and motion to capture and great expression. Immediate will even pop in at some of the cool characters we've designed ourselves to create our full Mars colonies scene. All you need for this one is your pencil, black fine liner if you want it. And we're ready for life on Mars. Welcome to life on Mars. Here's my little concept drawing to give us an idea of what we might put into our cartoon scene. So we have landed on Mars and we're colonizing it. So we're going to live on Mars. So I'm going to show some astronauts. I've got a little example of one here. They're tethered or attached to, it looks like maybe that's science station or something, a little cat and the window with his clipboard observing or whatever's happening out here. And my character has got a can have 0 space, water. He's watering little monster down here. So I bet you, we could pull in some of the funny monsters and other characters that we drew and some of our previous exercises and put them into B. Some are aliens. And then I've caught in the distance a few different buildings on Mars. Mars I think is a red planet, which is why I've colored this bread and it's got some mountain you're looking structure in the background here. And then I show quite a bit of the sky. My concept. I've done the title bar, I'll make that smaller, I think in the actual cartoon scene. So let's get started. Now, the way I'm going to begin my scene is by giving myself a little bit of a division in my page. So I think what I'm gonna do is sketched myself in a curve. This is going to be the curve of the planet. Okay? So I'm making it about, about a quarter of the way down my page. Okay. If that's about a half, that's about about a quarter because I want to be able to show some, maybe some, maybe there's a little like a Observatory station and the distance. Or maybe some, you will see some little planets in the background or asteroid or something. So that will give me a feeling for where I am. But I want a good amount of space so that I can set up the rest of my characters and my, maybe my lab or my Mars nursery or whatever else I have happening. So that's my first division in my page. And then I think I'm going to rough in some shapes that are going to turn into the other space buildings. This might be, this could be, I know this is gonna be the, the Mars nursery, Wilbur growing some plants maybe, or you might want to turn that into a lab or something like that. I'm going to show it like that. So what I've done is I'm only showing part of the bill that I'm not showing the whole thing in the center because I want to be able to show different buildings that we're making on Mars. So this is like a triangle shape. I might make it bigger or smaller, but I kinda rough it in so I get an idea of where that might go. Then I'm going to show at least one other building and I'm thinking something in this corner or this side of my page. We've made, perhaps we've taken one of the rockets that we'd landed in. Number chilled turned it into a maybe like a lab or something. I'm just going to show the top of it. Well, that's an idea. Maybe we show a little bit, There's a little rocket coming in that's taken off Venice heading towards, it's, maybe there's another, more and more colonists coming to come and live with us on Mars. I won't go into those details yet, but it gives me an idea for, so when I have an idea like that, sometimes it's helpful to just sketch it in. It doesn't actually finished like that. Maybe that's Earth that we see where in the distance. And I had this idea for having us conservatory or somewhere where we can have like a telescope, telescope and look out with his telescope up there. So now I feel like I've set up my scene and now I can figure out where some of my characters are going. But first, are there any other big parts to my drawing that I want to roughen first? Maybe I'm thinking I might do a Mars rover. So a vehicle, one of the ones with the big, the big wheels picturing assaulted. I don't know quite how to draw something like this. I start with a shape, okay. So let's pretend this is the main body of my Mars Rover. And I'll give it some big wheels. And they kinda go off the page. That's okay. Here we go. Here's sort of a curve is partial circles. These are the how it attaches to the body of a rover. And then I can put one of my fun little characters that I've designed into here, okay, so one goes in there, and how many characters are going to get? I'm not sure. It's sort of like five or 65 characters. Maybe somebody here, certainly somebody in the, what is it that the Mars nursery where we're growing plants and then, and then I'll get a character in here in my Mars Lab. And then I'm going to have some might worth my astronauts floating around and doing something in the middle of my page. Maybe there's like some craters. We might show some craters. There's little crater here. Maybe I'll do a bigger, bigger crater here. And I can show another one of my cool characters that I've designed popping out of there. I mean, you know, pumping his head out. We could do that. Alright, so now I feel like I have a layout for what I'm going to draw and maddening to my cartoon scene, I can start drawing one of my sections. I'm going to start right here. I'm going to start in my Mars and nursery. So first things first, let's create a couple of lines. And I'm going to create, there's gonna be another, gonna be like crazy plants. These are alien plants growing up out of these little, little holes where maybe there's some goo, There's a few little circles. Those circles. And then I'm going to create some crazy looking plants. Now I can do this with the way that I only overdrawing with the line types. So here I sketch in some shapes, maybe, maybe a oval or maybe a triangle, a little triangle in there. Few shapes, if you like. And then I can turn these into crazy plants. I did. Oh, I remember the one where I did with it. Curly curvy line. I'll do a curly curvy one that's some sort of a marsh plant. And then I did have some spiky, spiky line. Spiky lines around that shape. This one. I'll do, I'll make atomic what I wanted to be a planet. So I'm going to make it with this look like leaves. Trying to make it look like leaves around a triangle shape. Okay, that's good. I might make these plants, they're all alive. So they're going to be like crazy alien plants give him some eyes. Maybe this one has, maybe this one has eyes like this. Maybe the vertical. Oh no, this one is this. I'm going to make this one have three eyes. Yeah, that one has three eyes and actually I changed my mind on this one. This one's going to be it's guy is gonna be just a cranky guy. I'm gonna do a cranky space plant. There he is. He's looking over at my character here. This is my scientist. This one, this goes all confused. So I'll make his eyeballs all over the place, open. A little wavy smile. Who? This character? He's got a frown. This one. Let's see. He's just surprised. He's like, Oh my goodness, we're being called. I move his arms. I think it's character in his arms. My craziest bass player. And then I want a scientist. And I'm going to start this character out of stick figures. So a little bit like we were doing with our sticker. Your characters circle for my character's head. And then I decide what he's doing. So maybe he's he's pointing he's pointing to, he's holding the, he's holding a can of fertilizer is truly wants to fertilize this guy and he doesn't like the idea of it. So that's just a little can of looks like a watering can and it's gonna be space fertilizer. Or maybe I should make it and maybe it looks like a changed my mind on here. I'm going to make it look like a beaker so that it looks like it's in a lab, right? So kind of shaped like that. We use the scientist is holding onto, aim his arm down and give them a little circle onto the container to be his hand. So just like we would have done with our stick figure characters in here, another circle and he points, he points over here. So circle firsthand, oval for his fingers, he points. That should be enough to give us our little spelled out a lot of what's happened. I saw her on to give us our scientists. So let's start creating him glasses. He'll have glasses on. So two big circles for his glasses. And I'm doing a character with glasses. I don't draw the circle for their eyes. I just go straight in to drawing the pupils and he's looking over here. There we go. And give them a little sigh, a simple sideways knows. There we go. I just need you to mustache. Aren't even open it. I can fit it on. No mustache or here. Little a little open mouth as he's talking to this little space plant. And I'll give you my typical getting crazy hair. These are mad scientists, crazy hair. Here I'm using my line type 0 is right. Definitely It's very crazy here and just go around my shape using my, whatever the line, I want their house, wealth, wealth crazy because air. Then I finished off my character by just drawing the shapes around to make him look like he's got a lab codon, little rectangle down his body, thicken up his arms. And I met, show his hand on the beaker as some ovals, small ovals to look like it's his fingers around the super fertilizing solution. The only other thing maybe I could add in here is what I might do a sign, but I'll do that. I'll refer to now. Just like we did with our words in monster sound studio. I draw a shape where I'm going to put my words. I'm going to say Mars nursery, Mars and nursing belt, fair chunk down where I'm going to put the words, Mars, nerves. Crispr that at all. I like that. Let's look marginally skewed it bigger, I think. Lars. So play around with your shapes and your lettering until you have it. A belt where you want it to be. You know what I'm going to do, we're going to get a little fancy. There's gonna be a space plant in-between. Here it is. Space planet, Mars and then nursery. Nursery. Now I can ink this section. And I'll ink this now because it won't, and I don't think anything will interfere with this, so I think I'm safe to ink it. Then inking this section I think about what to do first. I can do the plants first and then, then my scientist, the plants don't cross over. Now remember, you're always free to be as creative as you like with these drawings. What I'm doing is just one idea for how to create a crazy Mars Colony. Whoops, is a little wavy smile. But always feel free to be creative with your ideas. Breaking up various. And my, my shocked, shocked space plant. A little 0 for an Alpha game. Maybe he's just had, had the fertilizer is not happy. They recover. And my scientist who haven't been eyebrows on my scientists do I need them? I think he's expression might be alright without couple of dashed lines on the characters. Glasses, make it look, feel like class. Crazier. Again, it's just a line that follows around the basic circle shape that I use to create the character's head. Then he gets a color. Hands are always tricky. I still find hands very tricky. But if you simplify them as much as possible and think about them as shapes, they're much easier. Then I find they always look okay. Now I need to do my lettering and then I'll draw around the outside of my Maurice nursery. You might wanna do fancy lettering. And I'm going to keep it simple. Oh my goodness, I spelt nursery or should be or their nerves. Don't don't spell the nursery wrong with who you are and you are most nursery. I haven't Mars necessary. This is what happens oftentimes when I'm drawing this, I forgot about my, my spelling. On Mars. It's called the unnecessary. The final details inside first section of our Mars Colony done amazing. What's next? Shall I come over to the lab? Character in here maybe doing a patrons as being like a food lab or something that they're making, growing food in the lab. We go, I think I'm actually going to do a sum, an astronaut, astronaut floating along out here over to this, whatever it is, Crater. I'm gonna do that first because I know where this element of my drawing is. So let's do a little astronaut. So I placed the astronaut and then I can attach them to the, the rocket blab on it's good idea. I'll call it rocket blasts, and I won't spell it wrong. So Rocket, Rocket Lab, Lab. Where can I place my astronaut? He's going to be moving my creator over a little bit. In your drawing is going to be set up differently than mine. Feel free to move elements around wherever. Now the astronaut is going to be in motion. It's kind of floating along. So I'll draw him out of stick figures to start with. Maybe he's like I want it to look like he's sort of sort of walking slash floating. So will that without positioning feel like that our staff families bringing something over there. He's got a repair kit, he's got to repair case, come over to do some work on this crater to help out whatever alien is in here. Somebody popping up as a whole. There are two sketches, so here he is. I think I should be able to create him out of these shapes. Alright, he's coming over, he SCADA, what's easy over to give this guy something. He's giving you a tool or something, like a space-based screwdriver. He's giving him come over to do repair into my character. Now this character is an astronauts. I'm gonna do it with a helmet on a little bit like our characters in spite Academy, I work with a circle for my character's head and slice at a section that's his visor. We can see inside to see his eyes. Maybe there's a little, little nose, maybe his, his mouth hidden. What can we see his mouth? Maybe I'm going to make the ohmic the mask a little bit bigger because his mouth Here he is. Hopefully that looks like there's an M, M on it for MC Mars Colony. He's got a little logo on his helmet, MC Mars Colony. Then I come down, same thing that we did, drawing shapes over top of my character to create his space suit. I think it needs to be a little bigger, bulkier, right? I think that that can be quite a big square. And then the legs keep that quite simple. And he's going to have on space boots so I can draw those using sort of a half circle shape. Like that. I'll actually look quite, quite bulky. They exude same with his arms, thicken those up. And he'll have on gloves. Gloves. So I just circle around whatever he's holding. Maybe needs a jetpack and I have jetpack on his back. Maybe you have a jet and maybe his Jedi, maybe he's not tethered to the potassium iodide being attached to this. He's got a tether, a line attaching him to the Rocket Lab. There's bringing over his tool to help us character. I don't know. I don't think I have space for my space kit at all. If you forgot space, you can try or maybe I'll try that here. He's got a space gear. And at the same time I'll draw in the character he's approaching. These two characters kind of go together. So anything that's working together, I'll sketch that up completely before I, before I, before I ink it. This character, let's pull out one of our characters from maybe one of the monsters, Yeah, One of the monsters that we made when we were doing those crazy expressions. So here I'm going to, they were made out of a teardrop shape. So I'll do that. I'll give myself a teardrop shape. Alien is hidden down in the crater, right? We want to see part of a hidden down the crater. And he's got I couldn't leave it in water to two eyes, two eyes on those other monster. So there are two eyes on him. And he's going to be very happy because this guy is bringing him a tool to fix whatever is down in his crater. A big, big, big crazy open mouth. I think we see is tongue. How Snapchat works? See his tongue and we'll do some teeth in them. These characters were kind of shaggy looking, so I'll do that as well. Does he mean, I don't think he's hands. He's just these right down in there and the crater. I think that will do. Now I can ink these two characters. Start with my astronaut. I don't put eyebrows on this character, but you may, you may fit them in and all the bonds on how you draw on your characters. Like characters either right up at the top. So I don't think I can fit. Mc, Mars Colony. It's great having characters like astronauts with about two of those characters like astronauts with gloves and things because it makes it very simple at home on his, on his chest and just draw some circles and that's what it looks like. He has some sort of maybe it maybe since his breathing breathing apparatus or whatever he's got on his space, you really rounded kind of boots or I could do big, big favors, a big thick so on them. Areas for for walking around Mars, jetpack and his little toolkit. I'll put a little MC on it as well and see Mars Colony. Their heads attached to the rocket. And he might need a few little motion marks. So I feel like he's bouncing along. Advice how it to their neighbors, they feel that it's bouncing. And my little monster, or happy monster. What we're going to make those eyebrows very fuzzy, like is, I suppose monster body. And does he have teeth, gums and teeth? That I drop them down in the crater. Right. Now. What I decided, what I'm going to do next, I think I'm going to do this. The Mars Rover. I think that's what's next in my drawing because that takes a fair amount of space. It's in. I'd like to get that in. Next. I'll leave this one to dry before I erase off that ink. So firstly, I want to decide is I'm going to pull in one of the other fun characters that I designed in the last exercise to make me be the driver on here. Which one should I choose? Maybe. What about the what about spiky guy? Oh, no. What about the cloud? The cloud is kind of guy. He's got hands. I'm gonna do, I'm gonna do the, I'll do this spiky guy. Maybe the spec, you guys floating around here, hippie spiky, spiky characters pop up out of this creator. Maybe things that's what they come out of. The camera there. And this will be the fuzzy kinda guy because he had arms. So he's going to be deriving, he's going to deriving the space rover. So I created the same way circle for his body. Then there's line around him. Here he is. He's definitely having a very good time deriving the rover. Those are little arms. Does he need anything else to make him look like he's hidden space? That's alright. And he needs to be holding some sort of gears or something. Oh, there we go. This person, Mars Rover. Where do I fit that? Mars rover? Again, using my shapes to determine where I'm going to place the writing. Maybe these are spiky kind of tires, different line type around those. Okay, I can ink that guy. The character first because he's sitting on top of the rover. Oh, I forgot he had curly eyebrows. Want to put those in the eyebrows? Then they do the rover. An HDMI writing. I've gotten a little ahead of myself. Mars. Fiona, spelling mistakes on that one. For the rest of this, remember, I just, I just keep the shapes and prop. Perfect Mars rovers then. I don't think he needs any motion, Marx. He's alright. What is next is I'm going to come over and do the lab. The rocket that's been turned into food. Or I can take my, I forgot actually do a few little lines on there. So it looks like glass helps to differentiate between the sky and inside my Mars nursery. Missing that are offered to see. Rocket Lab, rocket food lab. So I'm gonna put a character in here. Now, should it be a person? Or I think actually I will do, I'll do a person because I think that characters are characters over there and I think they're going to be aliens and balance it out. I'll do a person in here and there inside the window. The window. This up a little bit. I can make my window around. And in goes my, whatever my characters doing, my character is making Idaho. This is some sort of a space, space, space. Space, space brew. Hear it as it's, it can be in a bowl and they're dipping in. Maybe there's a, maybe there's some sort of a measuring device and it's maybe it's gone wrong there sticking in seeking and some other, other kind of probe to determine if this has turned out right. This experiment where I put it up on it until it looks more like a beaker. There is. So what I've done is I've drawn my circle for my character's head. And then the objects, what they're doing. Because then I can come in and attach my stick figure like this to what they're doing. So we'll arm there with a circle on the end. And their arm here, it's bent around the circle holding the other probe or whatever thing that I'm measuring their space food with. Then same thing I can thicken up my character bit and do their puzzled looking face. Here's, here's Puzzle. Maybe there. Their eyes are like looking down at what they're doing. So two circles with eyes looking down, notes down a bit and I need to look a little bit. Little, little puzzles how it's gonna be a simple line that I've done it twice. How are they upset? I'm just trying to solder there, but they have their little upset. So there we go. And there their eyebrows are a bit angled and they look a little bit worried. This has not gone right, this experiment. And here is my Sophie, like my girl here, Here she is. Yeah, maybe a little color there. So it looks like she's got her his lab coat on. And I can ink this section and character first, okay, and then I do the circle around her. So here she is. Rather worried. And then once I get to here, I flip it. I started drawing the object and the hands because that's in front of my character. And I'm going to keep her hands really very simple. Here we go. Touch touch her to what she's holding and experimenting with their shoes, what was different in the button over here. And then put her into the window. Because I can always fit that around her. Maybe it needs a couple of marks like this. It looks like glass. One little circle around it. I do want this to look like metal. I want it to look like a rocket. So I need to draw on some parts to make it look like a rocket. So here I say I chop off the top of it there. And what if I gave some little bolts like little circles along? Then those can look like bolts. So it starts to look a bit more like a rocket. I could do the same thing here. Maybe there's a little, a little panel here that we see. You know, maybe there's some bolts around there, so they just like that. Then I need to write in rocket lab, I should probably have rough that in before, but I'll see what I can do. Roth Rocket Lab with this, whatever. Rocket Lab. Maybe it's Moore's law. Title your areas differently. Okay, great. Erase off my astronaut. Do him. And probably even the Mars Rover. Now, I'm going to move along to do the characters and little bits in my background. In this scene that we're setting because we're on the planet and we're seeing the planet like this, okay, so we're looking across it. I want to show these characters and these little elements back here. Smaller, feels like it's a round planet and we're seeing the horizon back in the planet. So that means for here, I'll do another, do another creator. And who did I say I was going to have some of our other fun characters popping out a grid or the spiky guy, he's going to pop up here, here. Comes it down. There's my wherever there are a couple of craters and a couple of craters outcomes. The spiky character, just my circle and my spiky line style drawn all the links is going to be, I is gonna be cranky still. He's, he's upset at something. He's looking at a subset that the rockets coming in, another, another rocket full of astronauts, various areas upset and he shoots up out of this or this or that way I was like This, shoots up out of this crater. Then there's going to be another crater over here. I do. Creator also do Christian thought about doing based on what I know, I'm going to do space dog, there's gonna be spaced dog. You may want to put them some other characters. I quite like this keratin coming up out of the crater. But I'm going to do space dog and space dog. So he's going to be fairly small. There'll be wearing actually, weren't you guys wearing a helmet here is based on little spotty little legs. I'm spellbound down to lock down here. Play around with him. And he's got it's got a helmet on space. And he's chasing, chasing a ball. Here, the balls vote to hit this alien. About to hit our poor little spiky guys buggy Elliot. You can see how much smaller I've drawn these characters in comparison to like look at this character. So this was one of the characters that we drew in our line experiment, the curly guy. And here is the spiky guy, right? When we're drawing them all in a row, they were the same size and look how much different sizes will compare. So you pick up a YouTuber less than half the size, almost some of the characters this much smaller. And when the characters in the distance, I cannot get in as much detail as I would have here. A closer up. And space dog. Maybe you want space cats. Cat will be good idea to do a space cat. Question. If I have space dog wearing, these are space boots on scuttle, little antenna on his, on his tail stock. And finally, I want to fill in some details into my background. Okay? So these are things that are going to really help to finish off my scene. In terms of making us feel like it's on Mars. What could there be? There could be. I haven't drawn the decimal this in the lab. Let me get the desk on. There could be because see, maybe some shooting asteroids, shooting star. We could show some planets. I'm going to show here this is gonna be earth. Earth. And I want to show a little rocket. Then here, I want to show a few little buildings. But they're going to be small. Because again, as I made these characters smaller in comparison to these ones, here, I'm going to make my buildings much smaller. So it's as if they're in the distance. And this doesn't have to be perfect. Because back here, I don't get as much detail in. What I do is I sketch in some shapes, rectangle. This is a half circle chopped off because it goes off the page. Maybe there's a little window in this, like a drop on this LeMay space cotton there. This is a telescope up on the roof. But that will help to finish off my scene. Here's our, here's our rocket. Again, doesn't need too much detail in it because it's, it's smaller and further away. It may be '20s of the crater. Anything else? I do one more little crater here. Let me not with anyone in it, but just a little crater so we see scenery, so we feel like we're on Mars. Like an outline. I didn't put in any of those. I didn't put in the Mars bar, the mountain. I can put that in right there, or maybe it's here. Maybe it comes in there. Let's have a little look. I talked to draw this as carefully because it is the distance. A little alien popping out at our drink. Good. Encrypt. You seem to do that though. And maybe just some dots. For instance, stars. I could also show some bigger stars and there could be a variety. There's another planet there, a star that's a bit closer. Few of those. And I'm always tempted to, It's easy to overdo this part, right? But I try to stop the South before I overdo the little details. One other thing about doing background that's further away is I will, I will put some of the elements closer together, like see e.g. that's what I've done, these little dots. The dots are the stars closer together because it feels like they're further away. Okay. Not enough to have enough join either. The Maurice, I'll do the Mars mountain. Just something sketchy lines across it. I should do what do I want more? Oh, I should, I should put a welcome to Mars sign. Welcome to Mars. Can I fit it in? I can do it. I gotta get into, gotta get into welcome tomorrow sign. Just seen working to welcome. Welcome to Mars Colony. Although she doesn't look very welcoming, does it extend his little? There it goes. It goes there. Welcome to Mars Colony. Docker. Based off the rest of my lines, I hope you've liked drawing that scene. And I hope it showed you ways that you can incorporate in a lot of the other exercises that we did in terms of capturing expression and creating fun characters with line, showing characters in motion. We even did one here with doggy. As well as some ways of showing a scene where it has a bit of a different perspective. And we have some of our characters who are close to us and in the foreground, in some of our characters, in parts of the drawing that are further away. Never got one last thing I think I needed. You see how I did the lights sketchy lines across the mountain here. I think that this building also need some lights, sketchy lines across it to pull it out of the background. And that's it. If you want to doodle challenge, you can add more characters to this drawing. Or this would be a fantastic one to color. If you want to work more. There's my dear for you. 18. Dream Studio: Welcome to dream studio. We're going to be designing our ideal create a space when that will be super inspiring to us, especially if you're cartooning. We'll start off by doing some brainstorming. I'm going to show you how I come up with the idea for a scene. How would decide where's it going to be, who's gonna be there, what's gonna be in it. And then we'll draw our creative space and maybe pop in some of the cool characters we've designed ourselves. This one, all you need is pencil and paper and your black fine liner. And we're ready to create our dream studio. I'm excited to design my dream studio with you guys. So here's my little concept dry. And I've designed this one up in a cloud or when I thought about, dream about, well, that's the first thing that comes to mind for me. So I've created different levels for my imagined dreamy studio, up and up in the clouds. Up here I've got a little painting area and what's covered? I have a little bird who's flying in with some paint supplies. What else do I have? I have big I always wanted a big super long scroll kind of thing. So I could just do huge murals and drawings on. I'd like pottery as well. So this, this character here is doing a little spinning on the pottery wheel. And I run another little bird flying in with a paintbrush. And I've also, I haven't drawn people as characters. I've drawn cats all through here. So, you know, the characters can be whatever you want. You may want to draw yourself in. You may want to draw and maybe it's your cat, maybe it's your dog, whatever you want. So we're going to start off by doing a little bit of brainstorming to think about what we might put in our pictures. So let's begin. Let's see. I have where, who and what. Well, that one I did up in the clouds. So there's an idea. It could be the cloud, it could be in-order. Tree house was one of my ideas. I thought a tree house could be a super fun place to have a dream studio. What about on a boat? I always love or houseboat? House boat. Those those are the boats on the water. They literally look like they're a house and they're very flat and they float on water like that houseboat. We have some of those up by our coverage. And could it be it could be a cube, it could be in outer space. I mean, it doesn't have to be on Earth or it could be outer space. How's that for an idea about who? Maybe your cats there? Maybe it maybe cats there are my favorite cat TCS names Top cat. Maybe it's maybe my dog, you know, maybe maybe your dog is there, might bring back one of my dogs who was making my horse. Maybe I'll bring bringing my horse, maybe shelf-life. I'd like have a little animals flying so something could be bird or maybe it's somebody in something like a parachute. In parachute. Somebody could parachute in red. How do you get there? There's Treehouse, some of the parachute into the Treehouse. What are So that's not exactly who, but that's okay. It could be somebody who is a character, a character parachuting, and that's what I meant there. Anything else for whom I might be there, I might put myself in. Maybe some, maybe some of the characters, maybe pen, you know, maybe some of my favorite characters from cartoon club pen. Or I put it in number, put in serious Bob, serious, serious Bob. Some of those guys who have older, what about our fun for there? I'd love these characters, Bian, phon far. You know that the, these fancy guys, these little guys, tempers, confers, put some of those guys in. Anyone else. There could be some pending block. Blob may come in. Neighboring blob in what, what is going to happen in my dream studio? Well, I definitely need a drawing area, drawing. And I loved the idea of having that big scroll or like a 2D murals, murals to do murals. What else? Pottery. I like pottery. I also love sewing. So there might be a sewing area in my dream studio. Anything else? Well, I mean, you could have things that are inspiring to you as well. So for me, I like reading. Maybe there's a reading area or maybe I have a bookshop. My books are there. Books, magazines are flipping through magazines, horse magazines and stuff. When I need somewhere for my supplies. I want maybe a really cool kind about something that's sort of like. It floats around my paint brushes and stuff in it. And there we go. My, in my books on my journals, journals too. That's a really important one journal. My journals need to go in. I forgetting anything else. Do I want a painting area? Painting? Want an area for Lego. Lego has been going, oh goodness, I'm running out of space. I could start. It's time to start the drawing as soon as the page is full. It's time for me. That's my cue to start my drawing. So these are some ideas from me. You'll come up with your own. You can use some of mine as well if any of these are inspiring to you. But feel free to add in whatever you think is going to be fun for your drawing. This is all about thinking creatively and designing your own scene. So let's begin. I'm going to start with, I think I'm going to stick with this. I'm going to stick with the Cloud Studio, although I love this idea as well. But I'm going to stick with clouds because I think that will be quite fun because I know what house and you sort of a, an area to relax you. Maybe I've got a hammock or something swing or somebody who's swinging could be a swing or a hammock. There we go. I'm going to start here clouds and I'm going to get in my first area. Maybe it's the pottery or iron or something. Let's see how it goes. So I'm imagining maybe maybe for four or five areas to my, to my dream studio house this and leave some spaces in between. So I'm going to start by sketching in some shapes and I'll just do them. Ovals, turned into clouds, ovals area. Maybe there's one in the middle. There's a couple of them attach. How's that? It's like a step down to this part of the studio. There's the higher-up area. Maybe that's the reading areas. Maybe it's like a quieter area is higher up that reading. And then down here in the center, this might be my drawing or painting area perhaps. And down here are the big area. I'll make this pottery. That will be pottery. Maybe this is the sewing area. And we've gotta get in my hammock. And we then move this cloud up. Although some characters flying and deny, how am I going to attach these? Maybe there's a little louder. Maybe slide maybe is a slide. I could slide down. Well, if it's a ladder and climb back up, it will, but I'm sure it must be able to fly. Whatever you think, whatever you think, you can do it however you want. But I've got to get in my hammock area. Let me write it. I can put it right here. It's touches right there. Attaches to the bottom of the ladder. That's gonna be the hammock area. Alright, so I sketch in the shapes that are going to be the areas where I'm going to have in my studio. So a little bit similar to what we did with life on Mars, sketching in the blocks where we were going to put our different parts of our colony here. I'm sketching in shapes for my clouds from different areas. I think that'll be good, but keep a sketchy because it could change. I'm going to start with the pottery area. And who should be doing potteries that maybe I thought maybe if called the cat doing pottery, going to do a little cat character a rule. Here's my kind of my little cat here use starting with some shapes. And what's he doing? He's putting something into the kiln, excuse, put a fire some of his pottery here, this is gonna be, that's gonna be the killed. Alright, so my character, he is putting some, say what's even making careful when making a lovely heritage just going in to be fired and the, oh no, it's, my cast is going to make a jug of milk. Milk jug. There we go. Here's my, here's my kel. I'm in a Cloud. So a little bit like we did with the big fine, I can just bury my count inside some curvy lines of my cloud. Is my cat buried and all my cow is standing on top. Now, once I've got the item that my cat is holding, now I finish off, my cats will make that bigger. My cat's little pause, holding on to the tray. Okay, so that'll circles for the character's hands. Then I attached the hands to the body. And don't forget a tail. Tail. Here's my character. Oh, nice big eyes, nice big. Oh, he's got to look like they're very definitely a big smile. Thrills with who's this part? Oh, he better be wearing. He's wearing an apron. I want at all with the artsy. Looking at RSD scholars apron on how's that? You use a print on. Anything else that needs to go into this little area. I think this is good. I'm ready to ink. Now. I'll only ink areas that I know are finished, right? I don't want to ink anything where there could be something else overlapping or coming in. Picture. Once I think I've got my design finished for that section, then I'll link it. Has kidney stripes, apron. And as I go along, I'll get my character. Little details like little little toes on his, on his feet and that. I don't do that when I'm sketching in pencil, although you might just how you want to work. You slide it into the kennel. I do the line like that and it feels like there's some depth or distance into my account joining a puff of smoke coming up there. I might, but I don't know what's gonna be up top so that I walked around the rest of the cloud yet years. Here's my cloud, a parasol, fun and easy to do. Brilliant pottery or I could label these if I want you to have to put a little like cat, cat pottery, whatever, I'll leave it. I'm going to go onto my next section. I wanted, or I know one thing I did want that drawing area with the big long scroll paper so I can do miracles. So why don't I do that up here? Where are we going to do it? When I'm put it? Let's see, I'll sketch in a shape and I'll see if this okay, So if I, if I can't figure out whether or not something's going to work in a certain area. I can always do that. What if I move along, we'll move this one up and then I can do my foot here. So a sketch in my shape. There's my big, a big paper comes down like this. And I was way off the page a super long, does it because it's just continuous paper. Just comes straight out of this cloud. And I can sit down here and do some, do some drawing. National, I make this me or shall I make this? Maybe this is pen. I'm gonna put pen. My character panel right here, right on top of the, Get rid of this part, right on top of the paper, doing a, doing a doodle. Let's draw a curvy can rectangle. Couple little squares on the end there yet, What's the drawing is going to be drawing? Stick girl is realistic colors you use. Yeah. Stick girl with paintbrush. That's what it's trying to fish pen here, There's pen and he's looking down at the character, right? So point C, things point the characters. Pupil's big smile for sure, and his hands up as he's excited. Drawing a sticker after he's already done another drawing. This is a stick dude here. Stick dude here. Great. I got my big drawing area. I won't think that just yet because I've got this section here and it crosses over with this. So I'm going to decide what happens here before I ink all of this. When we just look, look back to my list, is really helpful having, doing the brainstorming sheet. If you want, when you want to come up with your ideas and writing them down, because I find it helps me to, first of all think of other things. And then I remember some of the things I was gonna do too. I've got written down, sewing, sewing area, the reading, the Lego, i've, I do the Lego area. I'm going off of this drawing, so I might put it in the painting area right beside it. I'm going to be painting, painting work. So say, let's say there's an easel. So say I'm painting a picture. So there's a, there's a canvas and it's on an easel level triangle and behind the character here, who's painting? Who should that be? I could maybe fit enough funding for character there. How's that? That wasn't on that. We have fun. If I was on my list, I've done pen, I'm going to do, I've done that. I'm going to do a fun fur here is painting, made out of a circle cycle management arm over their pen. Here. Use those circles being my fun for. And then this is one of the ones where I just did a different line type around my shape. There he is. In ESL thing as paintbrush. Paintbrush with his little hand all the way should it be holding his palate is going to have to be somewhere else because I don't know if I have space to put it in, maybe. Okay. Who hold the palette down here? He's, he's got it. He's holding it here. Palette. So just another little shape down there. And then his eyes looking at here is what he's painting. Definitely smell or does he need a little maybe needs a little hardest hat on. It's got a little Burj on. And he's painting, he's painting these doing portrait, He's drawing and drawing and other fun for me or he is painting away. So that's pretty good. I think I can ink this section before I go onto my other side. Let's do that. I like to ink as I go along often because this way, I feel like, well, first of all, I feel like I get a bit of my drawing completed. And second of all, it helps to finalize a little bit of the drawing so that I can then see where I want to go with the rest of my picture. It helps me see what could be missing, what I might want to add in next. And for me, it's helpful. You may not want to work like this, right? You may, you may find you on it. Well, first of all, you might do everything in pencil. And you may want to not ink until the very end. It's all a matter of your own style and what what works? He's trying sticker and stick to it would be step took to be holding a pencil. I should have given him something. He's working, he's drawing away as well. A bit like, Well, I'm doing the drawing lettering in a, in a shape. I draw in the smaller characters version. Then I outline a shape that goes around because I can always move that paper around where the mural is, but I can't change the drawing so easily. I really like having some characters that are really fun and easy to draw, like the fun fairs. Because it gives me something to add in that I don't have to do a big, a big, difficult designer is not such a complicated character to draw. Nice to have some simple character is just, I like doing more complicated characters as well. But there's something about having a few simple ones because then I know I always have something that I can add into an area. It won't over-complicate my dry because here we've got quite a lot going on. And Josie, others, There's a whole mural happening. There's a painting area. So there's quite a lot of items along with our setting that along with where our pictures happening. Next area. I'm going to, sometimes I do this, I'll pull back up, pull back up the idea sheet where you may have yours to the side. So I've done my fun first opened but blob and done Penn, I've done the mural Scroll Area, the drawing area. I've done the pottery. I have not done Lego or sewing with these. I want to get in this reading. I want it definitely fit into this area. Clouds I started, I'm not doing those things in a cat. Haven't done any of them? Have you putting myself I'm up, put me in the hammock. So the next thing is I'm going to do our reading journals and me Mac in my relaxation area. So that's going to happen next. So if I want to fit that in, let's see where it can go. I think actually prompts and the amino and Bono, I don't, I don't want to, I don't want to put it here because it'll be right above the write-up of the pottery made a good heart. I'll do it here. Okay, so let's make this area a bit smaller. Cloud can shrink a little bit. Because I want to get my hair. I move a hammock up a little bit. This is my reading area and attaches to this club. Maybe there we go, That'll work. Like this. Maybe move totally trashes. So that's alright like this. It goes like this. And then I'm gonna be in here reading, maybe my books are stored up there. So here I am. And I'm thinking, I'm dreaming of my, dreaming of what else I should do next to my dream studio. There's me and I'm holding a book or magazine. Here it is. I already just call it. I'm holding the cartoon Club magazine cotton cloth and reading cartoon Club magazine area. But I have my hands on my magazine. Maybe you just see my feet sticking out there we go. And I said I wanted to be I'm going to put I don't want it to lego areas once I'm going to put Lego and books together. So this is bookstore is just gonna be books up here. So I'll just draw them as a shape. I can separate them now I have my books. There's going to be the Lego. I like working with Lego lid like their scenarios. Just a box of Lego, anything on my journals. And then I'm going to have my journal so I better have a little miserable pencil pot. Pulled my pencils and my genitals here, here's my journal. So I can do some work in my job. All right, above me, how perfect. This is definitely a dream studio. I'm gonna decide what happens here and then I'll ink this area. So I have left. Oh, I want I have ordered painting as well. Paintings, Lego, and oh, there's the sewing area. You know what else I forgotten is I think I want a music area too. I'm going to do sewing and music. So I can get maybe blob, blob is going to be. So I don't know how blob so is because he doesn't have any arms, but he's, he's a creative warm. So here's blob. Blob is up in the sewing area. And here's, there's a sewing machine flops about to work on the sewing machine. Bob sewing machine. But that in the Cloud, there better be a little area for all of my fabrics. This is going to be cloud come down here. I'm gonna set, I wanted music. We're going to put it in a stereo. This is where we also have stereo speaker. Speaker there. This is music and sewing. Usually consuming with Blob. Other speaker, here it is. So I put some music notes around there, I think. And here's blob in here. I'm not sure what he's sewing, but he's a movie's going to do a scarf here is, here he's working on his scarf, Scarf mind through there. He saw himself, himself, a scar from Esau, his name on his car. How's that? There is a voice operated sewing machine. That would be cool. There we go. Then here do I need to put anything else in here? If I missed any way characterised, shall I put in? I'm going to put in, you know, I want to put it has serious bargain. I'm gonna put serious bobbing. He's going to go in here. He said he was made out of a half D shape as well, or taller one for serious Bob. And then he was sort of Sworkit with your straight lines, jagged lines, straight lines, jagged lines, straight line. Jackie's Pharaoh's arms. And maybe he's, maybe he's mixing our paints. Bob's going to be mixing up paves, areas. User getting paints ready for fun for just a giant giant vat of paint. Or maybe he's doing a bunch of, doing a bunch of vegetable jars here. And Bob nixes paints mustache. Or you could shut off a fun for a character. There are one of the other kinds of simple characters you've created in there. Anything could happen there. Now that I've sketched up all of this, I'm going to ink it. Now. Think if I need any more little details into my picture. I begin with, I'll begin. Hear me dreaming in my dream studio. Remember when you have something more difficult like hand clubbing, is it? Always think about it as a shape. If you find it difficult, think about it as a shape from **** feet sticking out. And then I'll go up to my Cloud. So there's no definite order. This has to be done and it's just a lot of the lot of the items overlap. So it's a bit of a more challenging picture because of that. There's quite a lot going on. We've got a lot happening. Sure. No. I'm going to spell it. There we go. We've got a lot happening in terms of smaller details that are in this picture. All of the little items that you've added in to your studio that are inspiring to you. Books and magazines and Lego. House that. And I'll come in and do Bob mixing his paints. Just have to remember that he is just a series of different lines around the shape. Will have I forgotten Bob Sutton, bob's tuft of hair on top. There we go. I can't forget that. Mixing is paint up. I feel like the clouds. What gives the feeling of a dreamy studio? And it's also kind of easy because you can hide and stick lots of different little fun stuff right into the clouds. I like that. When a blob, I have done any erasing right now I'm going to do some, do some erasing and doing some sewing. Remember to pay attention to the order that you need to ink things, right? So I've got my scarf on top of the sewing machine, so I had to make sure that I came in and did the scarf, ink through my increments, scarf or speakers. Music. Lots of different things that I find can really inspire me creatively that are not necessarily part of the normal art that I do all the time. The more different it is, the more inspiring it can be 0. And now I can come back and do my little puff of smoke or coming out of steam, whatever coming out of the heat marks, coming out of the kiln, little heat marks for my cat. And I want some music notes Around that. I might have one last look back at my my brainstorming sheet, right, my ideas sheet, and see if I've missed anything that I want to add in. At this stage, I want to think about, are there any smaller details I want to add? Is that first of all, I'll erase off these lines and see how it looks. Because my drawing can look like it has more detail in that then actually does want to have all those sketchy lines is still. Taking this off. I can see how the drawing looks overall. And often I missing bits thinking. So that's the other reason. It's easy to use it a mess when you have so many lines, somebody sketchy lines. I think it's looking pretty good. Fun for painting. Maybe you need slope, floating cans of paint or something. There's a big space here. Maybe I can put some of Bob's paint that is mixed down there. What's the lines on here? Okay. So now that I'm done erasing, my lines are rubbed out pretty much. Have a look back at your picture and see if you feel like you've got enough in your picture or if you have any spaces that feel a little bit empty, right? Like I feel like that feels a little bit empty. I'm going to add something in there. Anywhere else, anywhere else that feels a bit empty all about them, a little birdie or something. There are more music notes here. I'm going to pop in some of bulbs, paint jars, your meal. There is a paintbrush come out of this one. Maybe another 121. I'll do a little jar. This jar is going to hold a bunch of paper edges. Related. Could've, should've sketched this in first-year. I'm going straight in with ink. Worked out alright though. So yeah, I feel a little paint brushes anywhere else I look back, is there anywhere else or something that will help to reinforce what's happening in a certain area. Like do I want to label this cat pottery? Or do I need 0 happens, I haven't put a little bit of thread on top of my sewing machine. Whoop, there it is. There's thread point down and my music lover, but if you want music notes here, that will balance that space out. Alright. Anything else I could write in the brain and muscle? I believe this is our book. I've got my journal written there about Lego lego blocks. Caught his scarf. He's ready blob on it here. Low, low bond blob scarf. Happy with the rest of it, I think. I think that's it. I hope you've enjoyed designing your own and dream studio now, that gave you an idea for how you can brainstorm up a bunch of ideas and then create an entire scene from it. So I will see you guys in the next. 19. 3D Dragon: I wanted to give you a little introduction to color your cartoons. You'd like coloring and you want to add some color to your cartoons. This is a perfect exercise. We're going to use one of the characters that we do in our early exercise on dry with shapes. So this little drag in here, I'm going to show you how I blend a layer with pencil crayon to really make the character pop up out of the page. Now, we're going to draw this character games, so you'll need your pencil and black fine liner. Then on these pencil crowns, if you want to use the colors that I'm using. And you want to grab yourself a light and dark green light and drug purple, yellow, a pink, and a gray or black will do. But really any colors are fine. It's more for you to get a feeling for the technique of blending and layering pencil crap. Alright, I think we're ready to add some pops of color to our cartoons. I've grabbed the dragons that we did from our dragon warm-up using shapes. And I couldn't choose one of these characteristic color. I'm actually going to redraw it because when we did this exercise, we just did drew it in pencil. Now you obviously you can color it with pencil, but I want to draw this character so that I can neaten up the lines and I ink it. And it will also give me a chance to draw my character one more time. And I can always make a few changes if I wanted thinking i'm I want to open up the mouth or something. That's kinda what I have in mind. But in a Hindu dragon if you want, but I'm going to draw this one. Remember it came from our teardrop shape. So let's begin with drawing this character. And by teardrops varies. And if you're gonna do some more, you do it in a different part of your patient. I'm just going to draw the character in the center of my page this time. So they were flying in. So here's my teardrop. And flying in to my page. Then we had two pretty big eyes right here. This was a girl dragon. I'm going to do that again. I think two pretty big eyes and I think I'm going to open up the character's mouth. I just think this is going to give me something else to color because I can call it inside of the mouth too. I should make it a little bit trickier, which can be found at file. So open up the characters. And I'll show, show the tongue. I showed a little bit tongue like this. And some maybe not to to her to gigantic teeth at the front. Two little teeth on the bottom. That's good. Maybe bigger chunk like that. Good. And we had a little legs, legs like this with our character looking like leaping and flying through the sky. They would go to the legs out the back. Appointees on the end of my character's feet. And of x me, Austin, this tail, a little bit more of a longer tail I think could get on this character. I can, because I'm going to be the body little bit, little bit bigger. Here we go. Triangle and live in that town. I didn't just spikes down this character, but I do have some fairly good size wings. Triangles to start the wings. And you sat she unfortunately that one anymore. So triangles to begin the shapes and my wings. And I did a little scalpel along the bottom, curve, inward curving lines to make them feel a bit more like wings. What else? Eyebrows on my character. When a horn, I can't forget them on the corner up here. Sorry, good thing to do and we can't get extra big extra Big Horn. And my character homework and I've done my characters. People's character is looking down here or lemons character the mouth open, looking down there and cares or had eyelids as well. So we'll be eyelids there. Couple of eyelashes. And that's it. I can ink this character. Beginning with my character's eyes. And eyelashes around my characters. No, not giving her a nice, nice, big, nice, big smile. I think I'm going to do a few extra teeth. How's that up top? Few extra teeth on the bottom till. Now that I look at it, I think I need some extras. How's that? Yeah, I like that better than I always see my characters tongue. And we kinda see the back of the characters know fact there because it's open. So we're seeing through a little bit. Then, then the rest of the character. It's nicely drawn characters sometimes because I find when, like when we were doing that first exercise, the characters were very new to me whenever I haven't created them before. Then. We were just sort of playing around with playing around with shape. Then. You don't always get character exactly as you like. I find when I redraw, that gives me a chance to change. A few little details on the character that I think will add to them. Oh, we've got nostrils, nostrils. I think he might need some lines down this. The characters, wings like this, just little added detail. I think that could be good for coloring as well. Knowing all of these now I need this character to dry so I can erase my pencil lines. Another thing, it might be quite nice to add maybe some spots or maybe the character has like a belly along a line along the, along the front. So you could divide it in half. But I'm going to leave the character like this where the body is just continuous know patterning or details because this will be easiest, I think, for showing you the coloring, the contact Nick, what I want to be able to show you is how you can start to make your characters feel more 3D by coloring with pencil, crayon. And the way that I can repel. So credit is maybe a little bit different than the way most people do. Because I will put more than one color on the same area and I'll layer the pencil crown. I'll show you what I mean. I don't have any character. Looks pretty good. And I like it with open mouth. Beginning to color. Now remember, you don't need to use the colors I'm using. These are just an example. It's just one way to color the character. But I'm going to start with the character's body and the character's body, purple. And I have a few purples that I'm going to use. And I start off by doing a light layer all over my character with my lightest color of purple that I'm going to use. Okay, so wherever I think the lightest color needs to go, That's what I begin with. It's a bit like when I'm sketching and I started off with really light sketchy lines. What I don't know exactly where the drawing is going. I start off light and sketchy with the shapes and the light, light line, and then it gradually gets darker, right? So it's a bit of the same idea. In coloring. I do a light layer of my first color over top of my character. And as I'm going along and thinking, you know, do I need this light purple everywhere? I think I fell down most of the character's body with this. I don't have to call it absolutely everywhere with it. Because I'm going to use another purple and maybe even more color on this body of my character. And I do think I want the nose that this part of the character is very important. This character's face, this product definitely want to pop out and view to notice that when you look at the drawing, notice I haven't even gone down the character's legs with this byte purple. I've just concentrated on doing. The nose. So quite thoroughly after the nose and down into the body and stop there. Okay. Now I pick up my next purple. It's kind of a media mish purple. And I'm going to go over again the character's body. Alright, so I'm starting at the tail. And I'm going to give this character a layer of this color. I think I'm going to go down the legs too. So what I'm doing is I'm creating areas within the character's body that look a little bit different, right? Because I'm not putting this medium purple all over the character. I'm going along most of its body. Then as I come up to its head, I might, I might ease off my my medium purple. So really what I'm doing is blending together two colors on the character's body. The reason that I use more than one color, especially on an area that's quite large, is because that will help to create a much richer color. Like it'll look deeper and nicer. I find when I use more than one color. Here we go. I've done my purple, this medium, purple, all along this character's body, and up to the characters smiling mouth. Let's see. Do I need it on the nose? Yeah, I think I need to come up the nose a little bit with this, especially around the eyes. Because if I start to then see eye color in this purple around the character's eyes are coming up into those lines. And maybe around the top of the nose of it. And then maybe I maybe around mouth a bit. Because I want to start to make this nose pop out and feel round, like our whole characteristic teardrop shape. Teardrops quite round, right? And since our character, I want that all to feel round. That look. If I think that I want to feel a little more round, I will go a little bit harder around by the edges of the character. Okay, So a little around the edge of the nose, around the edge of the mouth. Where else? Around? Down the spine down the back of the character. More on the tail. As I go along, I just get a little bit darker every time. Okay, so as I feel a little more certain of how my colors are looking, then I press a bit harder and make it a bit darker. Okay. I'm going to stop there now that I've got a couple of layers of color on the body, I stop on the body and move on to a different part of my character. Doesn't mean I won't come back to the body, I will, but I want to see how the other colors are starting to look in comparison to the colors I've just done. Now the next big part of this character, I would say, are the characters wings. And we also have quite a bit happening here in the mouth and the horn. But I'm going to wait on that because that has lots of little tiny little parts in there I can color, so I don't know yet if I want to call it that all one color or a bunch of different colors, that I'll decide closer to the end instead of going to color my characters wings. And let's see, do I want them to be? I pulled up the greens. I think this can be kinda fun. So I got a couple of greens and I'm going to start with my lightest green. And I'm going to go all over the characters, wings. And again, I'm not pressing too hard. So I start off with this color. Doing a light layer, MAC layer all over. And the other wing to this green is quite, it's quite bright. It doesn't matter if you have a different gradients. Hello, pay, your picture looks just a little bit different. It's absolutely fine. There. I've got one layer in of my fairly bright green. And then I'm going to do a layer of my next screen, a little bit, a little bit darker green. For this, I'm gonna do a similar thing to what I did in the body. I'm gonna do another layer, but I may not go all over this wing. I may go more into the lines of the top and the sides of the wing. So what I'm doing game is giving my wing. Some variety of color. And again, they don't see I've left this one lighter. I can always go over it again. This is why many light layers I find are better than one dark one, because you can never erase it. You can't, can't change it once it's down. But it's easier to make decisions about what looks good If you build it up slowly here and it's kind of fun that way. That I look back my, oh, do I need to darken down the edges at all, man, I darken down right into the base where the wings come into the character's body. Document in a little bit bigger, make it feel like to pull your okay in wherever there is. Wherever you press harder and wherever your color gets a bit darker or more intense, that's where your eyes really going to notice that part. I've got a layer on the body, layer on the wings. I'm going to stop there. I've got two layers down. I'm going to move on to another section. And I've totally different colors, the purples on the body and the greens on the wings. So I make a decision about what's going to happen next. I think I'm going to do the characters, eyelids and eyebrows and the, the horn. And I'd also pulls out, I'm definitely going to use a green again. I think I want to do, I would actually want to do this well, picking that one because I liked the way it looks on the wings. That because these are smaller parts that were poached, the eyelids It's quite small and horn that's quite small. So I think that a color that's a little bit more contrast or is a bit darker, could look at. The other thing I'm gonna do is gonna pull in another color. I grabbed the yellow. I like yellow when I'm using purple because it can really have a nice effect. You can make the purple really stand out. I'm going all over my characters horn again, lightly, one light layer of my yellow. So if we go stop there. And then my green one light layer over top of my characters eyelids. And I'll do the same color. I'm going to wait on that for a second. And then I think that both the horn like I've all these nice stripes on it. I think they need to be colored in different colors. Is it this screen again, I might come in, grab my old but other green that I have, my lighter green. And I can alternate and put a layer of its light green over a few of these little stripes to see how that looks. Quite good. Luck too rounded yet though, but I know I've got a few ideas for how to do that. Maybe I might show you the eyebrows light. No, No. It doesn't hurt. Also too. If you're not sure about something a little bit a little bit of that color down lightly and luck, is it right? I don't know. But the eyelids, maybe the eyelids need a second layer of this green and let's look and see. I think that looks good. Second layer that great. Maybe now the eyebrows can use this green. It's not going to do the darker green. Now, I feel like I can start to darken down some of the colors. I think the eyebrows can be darker, so I'll take the screen and I'm going to do it. I press a bit harder to do a little bit more intensely. By pressing a bit harder. I don't want to press hard all over the place because then I don't see the differences in the colors. Just because it's just one color doesn't mean it needs to look the same everywhere. It can look different depending on how hard I press. So I had this green on the eyelids. What if I just darken down just a little corners? It's not the whole thing, just a little corner. Then I think her eyelid will start to feel rounder and just got the dark dark eyebrows, those look great. And then I looked back and I think just anything else needs to change. I think I should probably do the mouth next and then I'll decide on anything more I need to do. Now. We have our open tongue. Okay. So I could do does she have a yellow tongue maybe or do I do for grabbing the color? It might have been grabbing groping. You don't have to do this. You can do it. Maybe you hear me give her a green tone. You can use the colors you've got. I'm going to have a pink tongue. Just for fun think-tank. I could do layer of prevalence with that. I want to do. How about that? So light layer of pink eye shadows, quite cute. Little light layer of this light purple flowers that look, again even in this small area. I'm doing two colors to give a bit more richness to my color. The reason that I pulled in one of the colors, that's this color was in the body, right? We had a lot of this in the body. A little bit of it can be layered on top of. A color that doesn't appear anywhere else in my picture so that it will help it feel like it goes with the character. None of these, none of these are rules or just, just, it's just one way of cut, one way in one style of coloring. Okay, So that looks good. Now I need to look at the inside part of the mouth. I need that to look like it goes further back, so it needs to reassess or push back. Now, I can do one layer, whereas my purple here is, I'm going to do one layer lightly of the purple. That is my character's body. Because this is the inside of her mouth and constraints we've made of the same thing as her body. And then then I'm going to make that look darker. So if I had my pen, I might come in and color that block which could look with a good or I could come in and do it a darker, I can grab my grades. You could do great what you do block and a layer over top. Again, I started at light. Then I decided it needs to be darker. This should really make us notice her mouth. I think it needs to be darker. And especially up into this corner of her smile. And I want that to really get noticed how big her smile is. Jack in that, in a little bit tired quadrant of these teeth. Look back is dark enough, are looking back at my character. I need to decide if everything looks right in comparison to each other. So I'm pretty happy with the mouse. And how much I darken that down I think. But I feel like the body of the character doesn't feel round enough and doesn't feel dark enough. So that's where I'm going to go next. Pull up my purple and I'm going to press harder and color darker on the character's body. And again, not all over, just in parts. So definitely down the tab, see the tail that narrows right? So that's going to be quite nice and dark and press harder. Then I'm going to darken down. Let's see. I think these little legs need darkened lakes, neat, dark and down. Because again, they're small, they're a little bit like the tail. A smaller part of my character has come in and darken down Jacqueline legs. And just because the body was colored with two purples doesn't mean I have to leave it like that. I can I could use one of my one of my green, maybe this one. What if I want a dark and Dale and Mary, what have I put a layer of green on top of these legs. How does that look? It looks great. I'm going to continue going down my character's legs here with a little layer of this green. And maybe I'll blend a little of it up into the body. Halfway. Something like that. Does that look? It really gives a little bit more richness to my character. Doesn't like that. And I can make it a little bit more intense, maybe along the character's line of their belly. That and maybe want to tail. So here's where I play with the colors and see what it looks like when I do have a look combination or without looks great. Now, I'm going to maybe flip back to my purple. I want the top of the character to get a little bit more intense, so I'll press a bit darker with my purple. Now. Let's see how it looks. This is going to create a real feeling of roundness around my characters. Teardrop shapes, darker along those edges and pressing harder. And the night or ease off a little bit and I'm not no, press quite as hard as I blend down into the character's body. My character is almost going to look darker, purple on top and then have a little like Google or any tinge along the bottom of it spelling. For an area that's fairly large, being the head and body. Now I have some variety in that character's body, all created by blending the two different colors. And I think the face needs a little more intensity now. So again, I come in with my purple, press a bit harder, especially around the edges near my black line. Let's see, maybe I'll probably write up into that corner of that mouth. And another, one thing I'd like to do oftentimes is darken a little bit around the character's eyes to draw some attention to it. So the theme where we darkened in this, this part of the character's weighting to draw some attention to it and make it even more intense. Same thing Here, I want some attention for I want your eye to go and where I want you to look in that I think is important to my character. Like the eyes. I press harder with my pencil crown so that I get more contrast or there's a bigger difference between nose is quite light. I think. Now that I see it, I need to darken it down a little bit. I think I might do it with a different color though. I think I might do what I did it with. Where's the yellow? A little bit of a yellow over the nose. How does that look? Or whether it was pink? Maybe I should have put pink. Feel free to play around a little, a little, a, a, Yeah, little layer of pink over my character's nose. Now this pink isn't used in just one area. I usually like to have a color used in more than one area in a drawing. For me that helps to make my picture feel like it's unified, like everything goes together. Now I just take any extra layer of purple. How's that? Because I do want the nose of my character to look rounded as well. I was that is it dark enough snow? I had looked back and there's sawdust darken up a little bit more than my characters back. A little bit more, a little bit more. Definitely the tail, That's a point-of-sale, much really tough standard as well. More of the character's nose around enough. Where I want to look a little bit more rounded, a little bit more intensity, pressing a little bit harder. And anything else? Anything else in my character? I think I could do the wings a little bit more intensely. So pressing a little bit harder. And I've got my lighter color. He not show a little bit of, a little bit of a difference between these nice to between these, these two greens that I have like this one can make each of the little bit darker. A little bit more. One chance, leaving all that it kinda later on that last wing. How does that look? I pitched the point or I could go along the lines where I have these lovely lines that I drew this with the scallop down that, that curvy shape their eye, that curvy shapes that move. We go up those lines. I think that's probably enough. I don't want to overdo it. Because remember, you can't lighten things so you can darken, lighten them. Eyelids. Okay, I think writers look at everything else I think is okay. Another thing is I could have colored my characters. Teeth array. I could remember like our eyes can be yellow ocher to her teeth, yellow. Light, light but what if I don't like like they're almost teeth? It might look good because my character's body is purple. So if I do a yellow on, say the teeth, that will help them stand out even more. That'd be a nice difference between the body and the teeth. Because yellow and purple are complimentary colors right there, opposite on the color wheel. So they having home. Yeah. Okay. Yeah. We collect the yellow teeth. Now that I've given me the teeth yellow, I think my horn needs a bit of another color on it, which I think is great. You know what, I have forgotten one thing, I have used the gray. Use the gray and the mouth and that's the only place I've used it. What if I did a little bit of the gray around the horn so that I can start to make that feel grounded. So along one edge, okay, Do a little layer of it. And then I blend in lighter as I come around the horn that I do to the other side to make it look around. Oh, yeah, starting to look quite rounded now. Has that now I've got the gray on to different parts of my character. Anywhere else that I need that you might be using blacklists you want to use Greg could be block or just do it lighter. This is the advantage of pencil crayon is that unlike a marker where you just, you know, it's just one intensity with a pencil crayon. You can press hard or press the light. That's why I like the pencil crayons. I've got the gray there there and there anywhere else that I needed. Like what if I did a little bit at the very base of these wing? I just went like that, right? The very base and just up the edge. Alright, so it's almost like I'm adding a little bit of shading to this character. But after it's already colored is you don't have to do it in this order by somebody will come in, they'll shave their whole character and then the loud color. I like to add color and then put a little bit of gray on top. Or it could be black and not everywhere. The color, the characters mainly about color. How's that? So starting to look quite 3D help, so I don't want to overdo it anywhere else. Perhaps the tail, the place where I'd really press really hard with my purple pencil crowns. So with a little bit, little bit on the tail, be a little bit up the back. I think we're almost there with his character. She looks great, happy with her. So I hope that gives you an idea of how you can use pencil crayon to really give your character a nice 3D effect. And don't worry if yours hasn't turned out exactly how you wanted to. You can try again. You can give yourself a little creative challenge. And this is why would you give yourself a little creative challenge? Try another of these characters. Try coloring it. So this would be a great one to do. This was the character, where's my circle? There's this character that we did just based on this circle. Okay, so another great shape for trying to round out. You could use the same colors again. You draw the character ink or engage in fact character. Then you could come in, you could do similar colors to this character or try some new ones. So what you do is you grab, remember, a couple of colors for the body. So a lighter color and a dark color. So I've done two different purples, like color and dark color. So you could do that again, down the characters body or maybe you want it to different greens, you could do the opposite. You could do. The character's body is green. So you come in, you do a light color of the screen and then go over and do another color, another layer rather of this green. And then maybe he's caught this belly on it, right? So that's a little bit like the horn. So then you could do a different color, maybe even pink, white, hot pink around the belly like that. See how that looks. Decide if you want it to be striped or not. In this character, the wings are very tiny, not that important, right? The face is much smaller. But you don't have horns, they're too to color it. So there could be a nice little contrast. And this character is vertical because this character has a spike, these all down the back. So that's a big feature on that character that'll be really fun to color. I would do the body and this belly first and then decide, do I want all of those to be alternating colors or three different colors? And I bet you they would look good, really darkened, but I would still do a light layer on those first and see how it looks and then decide you can even color them all in green lightly and then be like, How does that look? And then come over and do another light layer maybe alternating with another different green and see how that looks and play around with it, right? It's all a process of playing around and seeing what works for you and for your style. There's options, it's great. There's our little teardrop character and colored. I hope you enjoyed coloring with pencil crowns. Thanks for cartooning. Me and the team would love it if you'd share your pictures in our Facebook group. And I promise you're going to be surprised at just how creative you can be.