Learn to Draw by Doodling

1. Introduction: Hi, everybody. My name is Maria Ramoa and I'm an artist, illustrator, animator, filmmaker, and I'm here to teach you how to draw by doing. The first thing when you start drawing is that you think that you can draw. Because someone told you that only people who have talent can draw. Talent is definitely overrated because drawing is all about practice. But how can you practice when you think that you have to make the perfect drawing from the get go? You become fearful and you stop drawing altogether. What if I told you that just doodling with a ballpoint fan can teach you to draw without fear of drawing. Doodling frees you to create fun and interesting characters. It has your imagination running wild while you are having fun. So what are you going to learn here? You will learn to develop the ability to create drawings starting from simple random shapes or lines. You will learn how to let your imagination guide the drawing process and build characters spontaneously. You will understand how to use visual cues to develop storytelling elements within your doodles. Discover how to design unique characters by exploring personality, emotion, and backstory and much more. I hope to see you inside this course and follow me to these fun and easy steps to learn how to draw by doodling. 2. From Simple Shape to Fox Chef – Let Inspiration Lead: Hi, everybody, and welcome to this course. My intention with this course is to make you more comfortable with drawing with your own drawing. This is something that what I've seen in my students is that they are really scared to make a mess of their drawing. So I hope this class is going to be a messy class. I just want you to have fun here. So we're going to explore a technique in which you're going to use a ball pen. So no pencils. I just don't want you to have any possibility to erase. I want you to be free to just make a mess out of your drawing. That's how you're going to learn. To draw best. So doodling is something that you do, for example, when you talk on the phone or when you watch your TV show if you're not on the phone. And I'm going to start here with doodling, anything. Just, you know, when you're mindless doodle. And what happens is that my hand, maybe your hand is going to draw a triangle, but my hand usually draws a sphere. I have no idea why. So follow me in here just to give to give it a try and draw a sphere as I do. I'm not going to draw neat lines. I'm just going to draw very messy lines as if you're doodling something. When you have this sphere, we are going to play around and create interesting characters based on the doodles and we will come up with details every time we do something, so we'll just add up an extra step. This is really nice to break your rigidness and fear basically that you're going to mess up because the main goal of this class is to mess up. So you cannot be messing up because that's how you succeed. On this sphere, let's draw a character. Let's start thinking of something and add a feature. I'm going to have this character look this way. I'm going to just draw a helpline. If you've watched my other videos, you'll know that we do a helpline where the face is going to split into halves and that's how we design perspective. We create perspective. I'm just guideline to see maybe this character is going to be looking this way and I'm going to draw may be a large nose. Let's try it with this. I'm just going to draw a nose and I have no idea what nose I'm going to do. I'm just funny nose sticking out every step, and whatever I've drawn in here, it's going to give me hints who this character could be, and I'm just going to on screen play around with these characters and brainstorm basically who those characters could be to give you an idea how a creative process could be easy for you and light. This character looked to me like cartooni characters, I'm going to draw two eyes on each side of the sphere. I'm just going to draw another two spheres. And here, I'm using my knowledge of how to draw cartooni characters, and cartooni characters usually have cross eyed. That's because children when they are cross eyed, when they are small, the pupils in their eyes are really large because our pupils remain the same throughout our lives, but our eyes get bigger, so they look like crossed eight and they look cute. That's why cartoony characters have this cross eyed look, but they just look cute. They don't look cross eyed. I'm going to design this I don't know what it is. It's animal. Let's play around. Let's give them an eyebrows. While you're drawing, you can think of who this character is, who its personalities. Now it's cute. Let's draw something exaggerated here and without even knowing what the mouth is going to be, let's give him some large front teeth. And you don't have to look for anatomy, you don't have to do anything, you just have to play around. And now let's give him a mouth here, an open, happy mouth, and maybe some chicks. Chicks usually are signified by a line used straight over the mouth and maybe he will just enlarge the checks over here. And maybe just add some more chicks here and let's add a mouth like shade with dark so you can see that it's a darker spaz. There is a mouth here. We still don't know who this character is. Now it's taking shape. It's a weird character. Now let's add a chin maybe. Now let's build on the personality of this character. And later on, we're going to make a whole story around it. So don't be too caught on whatever you do, right? You do wrong, do it your own way, mess up your own way. That is basically the purpose on that. I'm going to give this character a nose like a fox because it does look like a fox to me, so I'm going to make it to a fox or just give it a trait that looks like a fox or something. And some dots where the whiskers can be. And what else can I do? I'm going to give it big ears because now I explore the fox kind of thing. I mean, we didn't start with that. But when you choose a character, then you may want to give them traits that such character has like big ears, and I'm going to exaggerate them. And cartoon characters are always exaggerating, and it can be maybe a mythical creatures. It doesn't have to be really a fox creature. You can have horns or he has, you know, whatever hair you want. Just play around with your imagination and as you see, I'm messing it up. I don't erase on purpose, and this can feel scary because you're really used to do you know, having your eraser, you want to have a proper drawing and all. So I'm kind of getting an idea of this fox being maybe a chef somewhere. So I just got this idea. I don't know why. Usually ideas come up like that. They come up with a suggestion. You don't know why you're doing them, but you pick them up and try to explore. We don't have now any kind of body. I'm just going to have in mind that this is a chef. So um, I'm going to exaggerate it or generalize the chef kind of thing, if you around food, you maybe taste a lot of food, you maybe eat a lot. So chefs, we used to say, here if you see a thin chef, then it's not good, which is absolute generalization. But that's how it is in cartooning. I'm just going to make a large sphere. I'm just going to doodle. It doesn't matter if I make mistake, I'm just going to make a large sphere a very overweight chef. He likes to eat. Or I haven't decided what is he or she yet. But I mean, I would make him a he. He kind of looked like a nice chef, dude. So here, I'm going to do some lines for the arms and some another arm. And now that I stretch the arms forward, maybe this chef can carry something. And before we even have a body or anything, I'm going to put a plate. On this chef. You see, I'm just drawing one form on top of another form, and it doesn't matter when you do that because later, when you see this character for the viewer who hasn't seen it before, it's going to make sense why you did that. But even if so now this place looks sea fru because we first drew the body, drew the arm here, messed up, and that's how it should be. So let's have the fox have some kind of juicy food, like I don't know, pork here or something, whatever foxes like to cook or whatever this chef likes to cook, maybe some veggies. I'm going to just throw a tomato here like that. Maybe some carrots. I'm going to have a arot over here, and everything can be doodled out with just a sphere. If you have seen my other videos on how to create cartoon character or even some other of my videos here, you will know that starting with a sphere is the easiest way to find your shape. It's like a placeholder, where your things are before you even start drawing on top of that. I'm just going to add some patterns on the this plate, maybe some small potatoes. Grilled potatoes. That's basically what I'm doing now in my kitchen, maybe that's why I got this association. I cook very, very seldom and yeah it's not my thing, but now I would like to have a fox chef that will cook for me. Yeah. So I'm drawing it. I know this is something that whatever you come up with, it is something from your subconscious and use that every time you use it. Let's draw some letters here. Again, just draw some spheres, connect them, something that looks like letters. It doesn't have to be super complex. Now we can have his arm. Now we don't have to draw even hands because they'll be holding the plate and another one is here. We have the plate. And it is holding it. Now, let's have the pulse. Now that we drew the round body, maybe it has an apron like that, and we can use the sphere to find where the apron is it's going to be around the sphere to give it more volume. And now, we can have the apron stretching down from here and the legs and the legs can be like you can easily find the legs if you draw stick figure or just draw chunkier legs like that. It's never wrong. You can do small legs if you want. You can draw thicker legs if you want. When you doodle, that doesn't matter. Your character can be different. That's the fun part with cartoon characters. They can all be different. But when you do interesting characters, you have to think of their personality. And that's what this course is here to teach you also that personality comes before any other character traits. If you draw a character that you have thought of details and who these characters are, they will look interesting, even though the proportions are not on the right spot, even if they're a little bit less evolved, it doesn't matter because the personality will draw the viewer to your character and they will like it. Here I'm going to draw some legs, maybe some toes. Let's draw now maybe a tail to draw a tail, again, just mark it with a line. It doesn't have to be really nice line, just market like that. Then the other line almost following this line, you can play with thickness and a pattern that usually the cartoon characters have the pattern that from here, the tail is white and here the tail is still foxy tail, it's kind of orange, even though we're not going to put any colors. That's how you signify that. They're fox two different colors. Now we have one character. Here just with the bullpen, you see all the scratches, all the drawing, the mess, but you still see a nice character. Let's continue build up this story with a character and something else around it. I'm going to do that in the next video. I'll see you there. 3. Follow the Line, Find the Idea: So we are back. I hope you had a break. Now, let's continue with our funny doodle. Fill it up with funny characters or funny situations. Now, we have this chef guy who has this plate. So who is he looking at? Let's just doodle. I have no idea. And that's okay. I'm going to start again with a sphere. Let's see what my mind comes up with. Maybe another sphere here. And now the look to me like two eyes, and I'm going to make them eyes. I'm just going to make someone. I have no idea who this character is, but white, big googly eyes. And looking at the chef, maybe they don't like the food. Maybe it's some really annoying person who is really impatient about their food. So it does look to me like some kind of an insect. So I'm going to do a guy, maybe an insect like guy, maybe not any species that we know, a funny character, customer that has been waiting for a long time and just doodle, a mouth and a large neck and maybe some funny hair. Why not? Exaggerate it. You see how easy it is to just doodle and get some interesting character out of it. And the guy, you know, when you draw with some kids, you know, and you say, Oh, and the guys doing that and he's drolling and you start to find the siliot thing. So the guy is really hungry, drolling. Let's have him wait at the table with one fork and one knife, again, draws fierce. And how do you know where these hands are? Just imagine pretend that here is a table. And draw one thing and then place other stuff around it. It doesn't really matter. You can do it wrong, but when you doodle, things just fall into place. That's what I want to tell you here and I want to teach you that when you play around, things fall into place. Uh, maybe you don't know how I don't know how really, but our subconscious has a funny way of leading us into different situation, different things. I'm going to just signify the hands of this guy. Just use spheres like that and makes the hand and just draw lines in between and that's how you create a fist here another one for the fingers it's so easy, how you create a cartoony fist. This guy is ruling. Because of the food he wants to eat. And now let's draw the table here maybe a very tiny table. He doesn't have place for the food, and he has ordered a lot. So let's draw that maybe signify some kind of cloth on the table, the table cloth, and the table Yeah, legs like that. This guy let's give him tiny small feet. Here, he's waiting and we don't know how this guy looks like, but he is a character. He's hungry character, and we can give him a costume, small legs. The thing with cartooning is that proportions can be changed, it can be tweaked, can be played around with. There are no rules if someone told you that there are some rules. Well, that's wrong. They have thought you wrong. You don't have to be scared to draw characters. It's actually very refreshing to know that because that's what I learned from my experience is that teachers who told you that you have to do things in a certain way, you have to play structure here or there, you know, it doesn't really matter. It's just rules that were made up and they're not true. So here we can give him maybe some top. Let's make him an insect. He has this insect kind of things. A large insect who is very hungry and wants to eat like that and we have this shirt, this sweater. Now we have a guy. Let's give him some nostrils here. What else can we give him? A lip? Maybe that's enough. It's a funny guy who's drolling. Maybe add more drool. What else can we have? Yeah, let's explore some new designs here, new story line in the next video. What do you say? Go have some break and come back here. A 4. Adding Drama – The Hungry Old Lady Enters the Scene: Hello, guys, and welcome back. Now, let's have another character over here to fill up our story. Now we start getting some kind of a story. So here, we'll have a character. Maybe that is peeking in and wondering. Well, when is my turn? So we'll have maybe just a female character. Let's have a head and someone like pecking in these large googly eyes. I'm going to pretend this is the head. The head can be anywhere. So just draw someone curious, pecking in a nose here. Again, just a doodle, large nose. And who is this character? Let's give her some checks. Maybe this is a lady that has been waiting for such a long time and he can't wait anymore. So what is she going to do? Shall we have her sit at a table? Shall we have her standing up? She's been waiting for her food? Let's have maybe an older lady standing in here with her little body. We'll have her a little hunched, as we said, suggested to us that we can do an older lady. The poacher of older people is a little bit hunched moved forward. We can take this into consideration. When doodling, you're switching between playing around with character starting from something from eyes or sphere or whatever. To coming up with ideas when ideas arrive, you use what you know for that particular character. Like here we added ears, we added tail, we added toes like pole here, and here, we didn't know for a second that it's going to be an old lady. But when we know that, we can use that fact, that idea that we had and make her a little bit hunched down, which means that we can play with her with the body a little bit like that. Just make it chunkier and more like one shape. This will free you from the fact that you have to do a lot of anatomy, a lot of small details. Well, you don't have to do that. Characters can be just a dot and eyes. That can be anything. So we are playing around here with characters, and let's give her some curly hair. You know, something that you see that older ladies that have less hair, they're trying to do something with their hair and they curl their hair a lot. You see, this is also a generalization. But in cartooning, that's what you do you generalize your character, and when you have generalized it, maybe then you surprise the viewer with what the character does instead of doing an old lady that is having curly hair, maybe she is really uh, like fit, and she does a lot of cool moves. So like, for example, this bovi when what was it called when they went on a trip Dreamworks movie, I think, to catch some animals the zebra and yeah, I don't remember this movie, but there was an old lady that were really kicking ***. With the animals. And she was the strongest character from the people there, from all the people characters. So let's have this lady looking and peeking in and wondering, well, when is my turn and we'll have her hands like little cozy small hands. She still has manners, but her manners are kind of like at the cross of her patience, she doesn't have any more patience because she's really hungry and she's wondering, what is this chef doing? Because she's been waiting here for a long time, and I'm going to make her legs like triangles, really, really tiny and really, really tiny shoes. When you exaggerate things, if you want the body to look really big or bigger, you make something around the body smaller, for example, the legs and the arms. This is really a little bit a rule of thumb if you want to. If you now sketch this character and you don't have any space and you don't know what to do, always think of, well, I want her to have bigger body, so I'm going to make something. Some parts of her body smaller in comparison. I'm going to give her a costume. A proper little lady with her patience running out. Can you imagine she's wondering, well, where is my food? Now maybe we can give her some patterns on her skirt, like maybe big large spheres is going to be the easiest, and you shade the patterns by doing you know, like lines next to each other, very close to each other. That's how you pattern in graphic work when you do graphic work, which means that you only draw with lines and you don't have any color to help you differentiate different colors from one another. So that's how you shade, basically. That's what it's called shading. Patterns make the character more alive. It gives them some more characteristics, who they are, what they wear. Yeah, what they wear is very important. And here we have this old lady now wondering, we don't see her mouth, but she's peeking in and or Doodle is getting more and more involved. And here we started just with this sphere. We made this guy. A chef because I'm burning my potatoes right now. That's how much fun it can be. Now let's go ahead to the next video and see what else can we find because we have spas for more characters here, this is just a doodle. So go take a break and I'll see you in the next video. A 5. Filling the Space – Creating a Background Character: Welcome back and let's do the other doodle, using all the scenery here, or what's going on and find out something else we can do. Above the old lady, we can have something still peeking in. So let's do some Googly eyes, maybe here. And someone pecking in. Let's do just this eyes like a small dots, who else can it be here? Maybe someone with really large nose. Sometimes you can do things just to fill up this space. That's also okay. You don't know what you can discover when you do that. I'm going to do something with someone with really large nose. And then I'll find out what kind of creature I want it to be. Maybe it doesn't have a real creature thing. Maybe I'm just going to do some teeth here of someone really curious and large nostrils of an animal that we don't know what it is. Just a cool guy or a person on top of the old lady drooling. And wanting also some food. The food smells delicious. Maybe I'm gonna have some ears like that, a kind of creature and a character. Uh, you can choose your own characters, you know. You can just follow your imagination and see what kind of characters you get. I really enjoy when students post their drawings on the courses. I'm encouraging you to post it, and it's so inspiring to see how their thought process has gone, how funny characters they've come up with. It's really so surprising because we inspire each other. The things that we do, we inspire each other. So here, you can either have this guy hide all behind this woman or maybe just make him really large, even larger than her, a guy with a costume. So what I'm going to do, I'm just going to fill up this face and add this costume on him. One way to think about how you can make your character stick out is always think about contrast. If I have this old lady's hair over here and it's white, I wanted to be more clear that this is her hair and this is some other shape. I'm just going to make a guy with a costume that is darker and I'm going to shade it. Remember, we shade and make something darker with lines. So it looks as if it is a different color, even though we just draw with a bullpen. I mean, that must be first for you to do. And you see how much fun it is when you don't have the pressure to erase. When you just follow whatever instinct you have, we all have instincts, of course, and just doodle without having that pressure. To come up with an anatomy, to come up with something brilliant in your eyes, brilliant. That's what I see a lot of my students drawing, they're trying to make things to kat. And that's when they see the progress getting slower because if you drop, you're going to have progress. That's for sure. There's no way you can you're going to have progress. Now here is something interesting. Here we can play with perspective. We have this guy, we have the chef here, we have this guy seemingly sitting a little bit. Inside a little bit further than the chef. Then we have this lady that looks as if she is behind this guy, and then we have this huge guy that looks like either he's further behind. So he's standing almost here. And he is much larger. So I'm going to make his legs, just like two cubes, really, because when something when you have characters that stand behind someone else, the amount of detail you need to put there is not as much as if you have on the characters that are in the center of the viewers attention. That's something a rule of thumb. So you can just have a shape of this guy. Coming in and we don't know what kind of animal it is. We just fill up this space here. Let's give him some kind of chunks on the nose. This is some kind of weird creature, maybe something sticking out on his skin, textures on characters, give them more personality like either you have this pattern here, you have this drooling or you have these small patterns on the fox, or you have this character with skin things on him. It just gives them more texture. Makes them more interesting. And you see how much quicker now things get and we can draw more of their personality. And so this was another character, but we still have a lot of empty space here. So let's explore another story in here, another character because each of these characters, they have their own agenda, and they're just doodles. We haven't planned that sin. We haven't worked it from the ground up. We just follow or instincts one thing at a time and brainstorm and think what if, what next without any demands on what's going to be next and how you need to pose it. So yeah, let's come up with something new here. I'm going to do that in the next video. 6. Adding Surprise – The Sneaky Character Under the Table: Hi there, welcome back. Are you curious to see what and who is going to be down here? Because there is no space for anyone to stand up, or you might think. Let's make a guy or someone that is crawling for the food. I'm just going to draw doodle out something and I want to pretend this is the character's butt. I don't know who, but I'm going to draw someone that is scrolling for the food. If this is the characters bat and I decide that this person is crawling, I'm going to make just stick figures for the legs and extend the legs and this one is already in movement. I'm going to make another stick figure for the leg and I'm going to make one arm stretching and another stick figure, someone wanting to get the food from under the table without being discovered, isn't that fun. Yeah, who is this person? We have the butt, we have the legs. We have one arm. We might be some fingers here who wants to steal. Let's doodle out the person who would like to do that. It's going to be a hungry little monster, maybe someone that feels like I have waited too long and these people can wait over here, but I'm going to sneak in and get my food before them. Because I am smarter, so I'm going to draw a long nose, maybe a mouth with an expression. I'm going to get that. I know I have trained. Again, what we do here just to clarify for you. You have a space, you have a story, you have lots of doodles, they came up from your imagination and when you've decided someone is scrawling, it has a large nose, then you think of details that will suit this personality. You will think of expressions that will suit this action that the character is taking by being cautious but still scared that he might not succeed. You use the knowledge of facial expressions. How does your mouth look like when you are cautious, scared at the same time, the mouth is downwards, you open mouth, the teeth are maybe visible and we are going to use the cartoony mouth here, so we see just a part of it. And you can give it some facial expressions like that and let's make this guy's eyes very, very small, just to break it up a little bit, the character design. And he is focused on the food. He has this large nose and maybe he is some kind of a director, you know, that is important. He doesn't want to look like as if he's hungry, but he's used to having his way. So maybe he's kind of, you know, I'm going to get my thing. Away. I'm better than everyone. My my strategy is working. You think of this kind of personality. Do you have anyone you know that has similar personality that you can put on it? This is the best way to make fun of your boss. Just put your boss in this situation and make fun of them if they made you angry. That's the harmless way and the best way to un drawing, you put your emotions into love that makes the best drawing if you have emotional connection to your character because the viewers, they will also have emotional connection. So we have his butt. You see that the anatomy is all out there. The arm is too long, the body is too small for a human kind of proportions. But that's what you do when you do though. The most important is the personality, and that's why this is so free as well, because it allows you to come up with ideas that doesn't necessarily have any connections to anatomy or to what's right or what's wrong. So I'm going to make the pants here. So maybe he has some kind of costume. So I'm going to maybe make the suit here. He has a black suit. We don't see the rest of it, but if he is an important person, come up he's come to this restaurant to eat this fox food, but he hasn't gotten anything yet, because this fox, besides that, maybe it's a good chef. It's very, very slow and doesn't know how to cook. Yeah, if I would run a kitchen, that would be me because I can't cook, and whatever I cook never becomes it's never the same. So we are all good at something, so it's good maybe that I like to draw, so I can do that. If you're here and you like drawing, can be you too. You know, maybe you also don't like to cook and you can realize you can know how this fox is feeling. So now we have the end of the paper and the leg is kind of sneaking out of the picture. That's fine. Now we can have this big arm and everything you do, you can really just draw with stick figure and later on flesh it out. In the lecture of how figure drawing for cartoon characters, I do just that I draw stick figures and we put characters on top of them. This is very easy because you can play with body parts in a different way without being afraid of again, making a mistake. Basically, this is the biggest enemy for an artist to fear the mistakes that they are doing and is basically the core of my lectures that I want you to just loosen up because when you start losing up, you come up with such a great designs and you think you feel like you have always been able to draw. You just have listened to people that told you that for talent is number one thing you need to have. And then if you don't do it right from the first time, you just give up, don't do it at all. This is the exact opposite of how art and drawing works. So with this exercise, I just want you to, uh, to just turn off these voices in your head and just have fun with your characters. Let's give him some ears, maybe some worried eyebrows. So he's thinking, maybe I will succeed, but how would that look like? How would that look like for my reputation? This has the nose of speak about me, let's give him some chunks of hair here. His hair is tinning and this is all he had left, but he's very neat. Let's shade that costume or that suit as if it's a black suit. When you have two pieces of suit that are the same color, you make just one of them darker. If you have two body parts, that has the same color. You just make the body part that is behind the first one darker. This is something visually how perspective works and we perceive colors and perspective. Everything that has darker color appears to be behind something else. This is also experimentation, but also how the human eye perceives things. Yeah, it's something to think about. Here is this guy. Wanting to get his food and enlarge his face. We can do that even more, and he has unshaven face maybe just to have some texture on him. Yeah. So we have all these characters wanting this fox's food that it might not be good even, but they all hungry. They've been waiting, they can eat anything. I mean, that's one way to work out bed cooking. Just have your guests be really hungry, then they will just eat anything. Yeah, so we have some space over here. Let's jiggle out another character. I think that can be fun. What do you think? I'll see you in the next lecture. I 7. Plot Twist – The Real Chef Is a Sleepy Bunny: All right. So welcome back. No. Now, let's continue with another karato. We have all these bunch of karats now here, and the chef is really late and everyone's hungry. Everyone wants the food. But what's the heck? Let's find out here the hack is that this is not the chef. The chef really is someone else and who is that? And maybe someone that has been late, and she is trying to hurry up to get the food done because the chef has really messed up. So what I'm going to do here is use that line of story and have someone in a hurry. I have the hands here running in and I'm going to have half of the body of this character coming in and maybe one leg trying to catch up. So I'm just sketching with lines. Just do the leg. Lines and just, you know, spheres, anything. And who is really the chef? Let's see what we come up with here. So the chef is maybe a bunny. Yeah, so let's draw the ears if we decided that it's a bunny and it's really, you know, she's overslept, the bunny and she's been on a party, so we'll draw kind of a nose, maybe some teeth for the bunny, it's the fox's friend, let's run the nose first. You see that when I doodle, I grab different details and I start from different parts of the body depending on what I feel like, what story line I come up with then. There are no rules what you do. And you see that I don't care about the perspective. I just match every single detail of what I do. Afterwards, after I come up with a story, now I've drawn some teeth. Now I want to draw some worried, Bunny because his friend, the fox pretended to be chef and she definitely knows that the food is not going to be good. So his restaurant or her restaurant is in trouble. So she's got to run and save it and say, well, you know what? You have to wait a little more, and now I'm drawing these cartoony eyes, so they're a little bit crossed eyed because we have this style all along. You can come up with different style whether I have maybe scary eyes or can be monsters or something. This bunny, she's trying to wake up and fix all the mess that her friend, the fox has managed to do while she was asleep. Maybe we can draw some features of the bunny female friend. Maybe we can have some hair chunks. Hair chunks usually are symbolized like that. You don't draw each hair separately while you could here as well. We did that and here. But if you have a lot of hair, you can also draw it as chunks. I'm going to choose to do that here. The bunny's friends. The bunny's hair is going to be in chunks like haircuts. I'm going to shade it darker, it's behind the bunny's head, and then I'm going to add another ear hair here flopping. The bunny ears is like she's saying, Wait, you going to ruin my restaurant. You know you can't cook. But maybe what the bunny doesn't know that this time, the fox did a good job and cooked really well. So it's not going to be bad. After all, maybe the bunny had found herself a partner. So here, I'm going to draw the hands and how do you draw hands in motion that are running? Again, every time you draw something, you can just draw it with lines. And what do we do when we run? We squeeze the hands like that. It's like, no, like a stop sign. So I'll draw the fingers like that. Like the hand is straight up and the Pause is like a stop sign, wait, wait. This is not going to be good. The bunny is ready to take over the food preparation, but it's too late. When you draw the stick figure on top, you just make the thickness of whatever thick you want the hand to be. That's a very easy trick to think about. So you can think you can watch this lecture. It's very useful if you want to draw characters in motion, explain a lot of things there and the more you practice doing things, the easier it will be for you to draw them again. I encourage you to be more observant when you're out in town to see how people sit, how people walk. Here, for the paw of the bunny, I'm just going to do another sphere and just going to split it in three. That's easy and another leg is out of the frame so we don't see it. We can draw the tired eyes of the bunny and she's freaking out what's going on here and who's been cooking? Something has been cooking. And here is the hair. Maybe we'll have some hair in front of the ears because here is too much space, so we want to fill it up. Here is another thing, another character that has come into light. But now, something is happening over here. What could that be? Let's do that in the next lecture. I'll see you there. A 8. The Final Space – The Happiest Bug: A All right, guys. So we are almost there to fill up all the space with different characters, starting from this dude over here that wants to cook that has proclaimed himself chef. But actually, she's the chef. And this guy is the director, and this guy some kind of a weird bug hungry. And this old lady wants to eat and this weird guy with a pimple he wants to eat too. So who is going to be here? Well, let's make that here is a big bug or a character. That has already eaten a lot of food. So there is a lot of products, I guess, missing. So it's someone that is going to be very satisfied in sleeping. Let's draw a dude who is sleeping over here. We'll draw a nose and maybe it's a bug, we'll have the sleeping bug. Another one who has eaten everything and it's now sleeping. So we're going to make this weird teeth here and several legs, just a stick figure, and just design the legs. Maybe it's a bumblebee, a huge bumblebee. That's scary. But that's what our imagination came up to now. So let's draw this bumblebee that has different colors like a bumblebee would look like. So one color like that and one black, one yellow, and we will pretend that this is the black. So just shade it. We're just drawing a lot of lines on top of that. So you can differentiate the yellow from the black. And this guy has eaten something. It's pretty big. This guy, very big bee, has eaten something and he's sleeping well and now's not really concerned of eating more. What they will discover later on, all the people over here is that the main ingredient is missing just because this guy ate it and let's make some wings on the ground. That's basically how it goes. You think of something you bring elements of this thing. It doesn't matter if this B is large compared to all the other characters when you do though, the most important thing is to let your imagination run wild and to think of story without giving a lot of attention to what's right and what's wrong. Just close your judgment for a while, to give space to your characters. And when you start giving space to your characters, they start become a life to you. And that's how from all these things that we drew a story emerges, a story and a new set of characters. And later on, you can choose that, well, I want to know more about this fox and why does it want so badly to cook when it can't does this bunny is not ready for work? What kind of party should went to? Why let the fox run her restaurant or who is this bug? Who is this lady? You can start asking these questions and in the process of asking the questions while designing, you will come up with an amazing stories that you didn't know you had in you. And you will start evolving each of these characters on its own. So you can start drawing. That's how you learn drawing. That's how you start drawing by freeing yourself from all the masks, all the rules, people that have told you it's about talent. No, it's not about talent. I mean, it's about passion, I would say. I would define talent to passion because if you are passionate about drawing, you're going to keep on drawing. And no matter how much you think how painful you think it is to fail, you know, I want to free you here from that word fail, you know, because you keep on drawing. And the more you draw, the better you will become and the more time and effort you can give these characters that you have just created here with me. So I really hope you had fun here that you discovered something about yourself that you didn't know before. Because that's one step further in your journey to become a really great character designer and illustrator and whatever you want to be really, you hand this free when you mind is free. So I hope you enjoyed it and come back here for more. For now, have a nice day or evening or whatever your time is where you are at. Goodbye for me. A 9. From Shapes to Dragon – Letting Imagination Take the Lead: Hello back. Here is another chapter of how to learn drawing through dzzling I hope you had fun in the previous lecture. Now we are going to use a different technique. Let's break it up even more. And doodle even more. Here we're not going to start. Just let me try if this works. The bullpen gets finished pretty quickly. Here we are going to start with start from one place and just do something in another place. I'm going to again start from a sphere, and let's do something here. I don't know, maybe I don't know what it is. Let's do something here. I tend to draw spheres, obviously, maybe a triangle here, undefined. And let's start connecting those two. So I'm just going to have my mind play freely and try to connect. And while I'm connecting it, I will try to come up with what kind of character that is. So I'm having a feeling of drawing a dragon. So how can I make a dragon out of these undefined shapes? Just look for what feels like a dragon to you. So I'm going to have maybe a stomach here, and this triangle suggests to me flapping wings. So I'm going to continue here and make a placeholder for these wings, and this one is going to be the beginning of a neck so I'm going to use that and maybe do more of those shapes to make a strange snake. It doesn't have to look like a dragon that you know. It can look like a creature that is new to the world, basically. And here, this shape is kind of suggesting a leg to me. So just again, everything can be defined by a line and a sphere or an ellipse and just follow whatever this shape suggests to you. Now I drew a line here as you see. But then I changed my mind because I see that this line goes over here. I want to connect it to this one. And it is okay to change your mind like that because you don't have to be precise. You have to just do the. You have to make a mess. That's the purpose. I'm going to explore the leg being here. I'm going to do a chunk of a leg. I can shape it around by using very quick lines like that to make it look darker. And this will define the shape. So if you are unsure of how to make a leg, you can just do the lines like that in one direction, and the shape will appear to it's not just lines that make the shades. It's also shading. If you see something darker, your mind immediately will try to connect the dots and will try to make a shape out of it. So that's how I build the lower part of the leg. Let's make a leg like that, and you see that again, I'm drawing just shapes. I want you to feel free to use shapes, lines, spheres, triangles, dots, anything to draw. It's not just one way of drawing and no eraser. So far. I'm going to draw a dragon maybe with wings like that, so triangular wings. There is no dragon like that, but we've seen dragon from the movies, but we haven't really seen real dragons, so you can define new dragons. You can define your own dragons. I'm going to make some clause using my imagination as well as what I know of dragons. It's always like that. You kind of assimilate something to you kind of think that something looked like something else and you start drawing it. But then you discover your own kind of characters. I mean, you are the creator of your own characters, and maybe when you create something unique, other people will follow you or say, like, Well, I have a character like that that look like a character that Joan Ellie has done or, you know, you are the creator of the worlds as other people before us have been designing and drawing dragons and all kinds of things and they have inspired us now to do those kind of dragons here. So I'm going to make a head maybe just draw a shape. I don't know yet how the head will look like. I'm going to create a jaw from this egg shape, and I'm going to draw an eye from here and make an eyebrow on top of it. You see that I'm just making a placeholders, shading here, triangular here. I came up with this shape here and this shape here. Another sphere here. Now from this, I'm finding a placeholder for an I and just draw the e here, and here it looks like a nose to me. I'm going to draw the nose, and here, I'm going to draw the mouth of the dragon like that and connect the head with these spheres over here. Obviously, now these spheres have become my guiding line to the neck. So I'm going to use that and here you can add patterns. Patterns and graphic elements are what gives our character more life, more texture. Like in the previous lesson, we drew patterns on the carrots, we drew some dots for the whiskers, things like that, just give extra experience for people that would look at our character. Now, in the age of artificial intelligence, you want to know well you can learn drawing, but maybe a lot of people can create dragons from artificial intelligence. Well, my opinion on that is that it is all creation, really. And just because there are so many artists out there, it hasn't stopped you to draw. So people say, everything is created. Well, there is still space for more creation. Every creation is unique in its own. So don't be afraid of artificial intelligence taking over. Um, I as as a creator, I am actually excited about that. It is a controversial subject so far, and I still draw, I still do my animated movies and my new TV show now coming out and still animating. I find everything that happens as an inspiration. So here I want to guide you through this process, finding the other leg, you see that I'm just shading it, pretending that these lines form a kind of volumetric surface, there is a volume on this shape here as well. You see, I doodle it on purpose for you to see that there is no fear in doodling. You can never mess your drawing. That's what I want to show you that you can just make it better with every doodle. Here, I pretend that it's a volume on the subject and follow the doodles to the leg and make another leg and now I'm just going to make three claws here like that. I already looks like a leg of a dragon and it has some kind of perspective because we see that this leg finishes on other side of the body here. I imagine that why would that leg be? Here come the use of knowledge. Feeling feeling is very important. You are going to learn to feel where everything is. That's with practice. That's why I encourage you to do to do more because what you training here is not making the perfect drawing per se, over here, you're learning to get the feeling of where everything should be and how to continue when you start your drawing, how to continue it. And how to let your imagination lead you. Because when you first start drawing, you are led by fear of trying to copy some writes pin that someone told you that it should be like that. I mean, yeah, there is a rules of drawing. There is perspective that we can't avoid. There is symmetry, and how things are in in perspective, in space that we see. So we'll have to give the illusion of something being for real. But the thing with doodling and cartooning as well is that you are more free to do mistakes here because cartooning is breaking all the perspective rules and design can try you can deside to do a style that is more flat looking that doesn't have perspective. You can break the rules of anatomy, you can make humans, for example, animals have bigger heads, smaller heads, bigger body, smaller body. You are more free to do that. Yeah. Now I'm going to draw the other wing that's a I thinking that when you flap when someone flaps its wings, the dragon, one wing is here and the other wing cannot be there. I flaps wings simultaneously. That leads me to believe that another wing will be almost on the same side, but on the other side of the body. So what we do, we shade it darker. We mimic this shape here, but shaded. So it appears that it's on the other part of the body and we make it shorter because the perspective makes it shorter for the point of view that we are looking at. So if you're looking for this side, it makes a short like that. And now we have a dragon. So we are going to add more elements to that. You can add snake skin that I'm doing now. It's a pattern that makes it look more like a dragon and you can add more patterns if you want. You know, you can add some hair or maybe something flowing in the air. Everything, again, is described by a lin. And that's why doodling can be important because you can just make free lines like that. You don't have to make it like that really nicely from the first time, it gets frustrating really if you do that because, um, you're trying to do something that real artists they don't do that, and you see these beautiful images, these beautiful drawings and these people have done it from the get go. They are just talented. The only thing they did is draw a nice line and it's done. But that's not how they do it. They do a lot of messy drawing like we do now. And when you get used to it, when you just relax and see it as fun. Well, you will be able to do much more advanced drawing. Let's evolve this more in the next video. 10. The Troll Rider – Adding Character Dynamics: So welcome back to this doodling class. I hope you're having fun. Let's discover something funny about this dragon and add other characters. Now that I see this dirty spot in here, I just feel like having someone ride on this yeah, on this dragon. So I don't know yet who drive it, who is writing it. But I'm going to start again with a sphere. Now we are going to the top of our paper. So sometimes your imagination may run out of space. Yeah, I will never run out of imagination, but maybe you'll need to extend the paper. So I'm just going to have this character. Maybe a troll kind of character riding on this dragon. I'm going to make some ears here. I don't know what kind of troll is it? A big nose, and just draw two spheres. Again, you know from my previous videos through all of my lectures that everything I do and everything is easily accomplished by just drawing spheres. This troll is going to be sitting on the dragon and I'm going to make him rather small in comparison. So I'm just going to give some darker legs and hands or arms that are upfront. And here, I'm going to consider that the flying and the wing flapping will flap its ears in the air, will tilt him a little bit backwards, thinking logically here the dynamic of the flying and where everything is going to be. I'm connecting my imagination with the physics of what this image has already given me. So sometimes in that way, I get things for free. I don't have to think how this character will sit because he's going to be sitting here on the back. I'm going to draw a happy little troll. With small eyes here and you can follow me in this exercise and do what I do because copying someone else's drawing is also teaching you a lot. That's why I make the videos very slow. So you can follow me along and see the process. Copying someone's process step by step is giving you an idea and it gets you this feeling in your body when you've done it with someone else, then you can free yourself and do it on your own. So now I'm going to give him this funny teeth. I like funny teeth and a large smile. Now I'm going to shade the mouth around the teeth or the space to simulate a black hole basically for his mouth and just give it a little curvature here. It looks like his mouth is open. And I'm going to give him double chin. Here for the hands, I'm going to make him write this dragon with some kind of a leash. He is on top of this dragon, and here I'm going to add a color. Even though we have drawn so much on top of the lines of lines of lines, you would think that it's over. You cannot do no more. But there is always a space for more adjustments on top of the drawing and it is messy and it is exactly as it should look like. Here, you already know that you can make a fist of something by creating a sphere and just add two lines and a thumb. And this one is going to be looking differently from a different perspective, and I'm going to add some fur on this troll, a troll with large ears, and to add four, you can also add clothes if you want to. Now that you have the shape, I'm going to add some feet and the other foot is not going to be visible. But now I decided to make him a furry monster and let's give him some fur. And the fur is basically you are shading it. As you go along, you add more or more lines around the armpits. That is for the arm to be able to stick out, you remember from the last lecture. If you want something to appear on top of something else or before something else perspectively, you make something behind it dark. So now that this arm, for example, is behind this belly, I'm just making this belly lighter or I basically just easily add some fur without making it too dark. Now here, I would basically add maybe a shading on the dragon, but because we did so many elements already, so I'm going to make instead this leg darker. So always a contrast is very important. Light to dark. You see this leg looks as if it's behind, even though it's on the same plane. It's a two D drawing, right? So light to dark, that's the principle. And you always learn things like that when you are in the process of drawing. So now I take these rules for granted because I've done it so many times. I sits in my system, and that's what's going to happen to you when you evolve and you draw more and more. This is what's going to happen that you're going to feel how things should be and you're going to do the leash here and this guy is having fun. This is for now, let's do something else. I'll see you in the next lecture. 11. The Giant Love Ladybug – A Whimsical Companion for the Dragon: Okay Hello there, and welcome back. Now let's continue or a doodle. What else can we do here? Let's have fun with it. This is basically in the air. There is a troll. In the air, let's have another creature maybe flying by and who will be that creature? Maybe a big strange butterfly. I'm going to make googly eyes yet again. And I'm going to have this character look at them. Already establishing some kind of a contact and have this character being overly happy, maybe. I'm going to follow this style, but just draw two teeth. This is a very typical cartoony mouth drawing. You just draw a skew mouth and it is partly open and it's on one side and then you fill in the gap of the mouth with shading darker shading, you make maybe a smile with this line that we already established, maybe a cheek. We have a face and we still don't know who the character is. That must be really fun. I hope it's fun for you because it is really fun for me. I'm going to make the Googly eyes even larger. Let's make this lady character, maybe a large ladybug as big as the dragon, you wouldn't know who is scarier? The dragon with a troll or the large ladybug dragon supposed to be scary, but large ladybugs, they are not far behind. Yeah. I hope you have also humor in your drawings because having humor and having fun and that will give you the possibility to exaggerate, to come up with the wildest ideas. And that's what makes your drawing interesting. You have to break the pattern of this normality of this, this should be that and this should be that. No, nothing should be, it is up to you. Let's make this ladybug have her wings over here. Also flying a wing over here, maybe it is spread. I'm just using the shape and again, trying to discover where the wings are. Yeah, it doesn't have to be on the same place for you. You can play around, but how is my thought process? The wings are on her back. She needs to have her wings spread. I'm going to put a wing over here, assuming that the body is over here, let's draw the body. It can be a really tiny body, really. It can be just this kind of body. You can play around. You see that I can draw a body over here and you will see it as a body, but I will draw the body over here, and you will also see it and you will forget about this thing. Our minds are always trying to find patterns in whatever I'm I'm focusing on whatever I point your attention to. Whatever I say, look at that, you will see it and you cannot unsee it. These tricks that psychological tricks that I have, do you see a vase or do you see the woman? It is like that with drawing as well. That's why you can do though and you can make a messy drawing and just by shading something, you can make the illusion and point it attention to your viewers to this and that thing. You see this thing here that we drew from the beginning, this is something that we didn't know what was going to happen without and now we don't even need it, but it is there and you don't really see it. You see the dragon. You tensions is on the shape of the dragon. That's how it is with everything. If you see something, you cannot unsee it and that's a trick that you as a designer as an illustrator, you can use that to point the attention of your viewers. To where you want them just to look. I'm going to have maybe a ladybug, a love bug, love ladybugs. Ladybugs. The bugs have this hands and whatever you call them, arms and legs or whatever, we have to have hands here. She's in love. With this dragon or maybe with the troll on the dragon. We'll have her hands doing something like that, maybe. And what you need to know here is what do you want the shape to look like? Whatever you draw a shape, you try to give it a clear silhouette. What does it mean silhouette? If I show you my hands and the camera and you see them from this side, well, they don't look you can't really read very well the expression. But if I turn them and show you that they are from here, you see it like that. Well, you see clearly that I'm holding one hand in the other. So when you pose your character, try to use that trick and try to design as clear as possible but place their hands as clear as possible. So what they do is very clear from the point of view that you're showing to the viewer. Because the action is the same, but you're the creator, so you can do whatever you want. Now I'm going to draw. I just instinctively drew this wing here, the ladybug have two wings. One is transparent and one is the one with the dots. Drawing one of the transparent give her even more ladybug vibes. What I'm doing is finding elements that that are readable, that are general for this kind of creature and I'm adding them to give more impression that this creature, even though looking nothing like ladybug, is very gives association that it is a ladybug. Here I did this part, and this is because I see this line that I doodle. I see this one here and it connects to a body that is behind it. That's why you see that doodling. Can help you find the perspective and the shape behind something else. What I do I continue the body, and again, I shade darker. Maybe now you remember that shading things darker. Makes them appear behind the other object. You see, I just doodle here like messy lines, with very easy hand and I don't press a lot and just make it darker, so I'm giving it more volume. You see that if I want to make the head stick out, I also at D one end, I just make it this part a little darker. So it looks as if it has volume, even though it's flat, the drawings are flat, but we as creators, we have to give the illusion. Of volume volume of something being real, even though something doesn't exist in real life. This is our job as creator. I'm going to enhance the eyes and some flesh for the eyebrows and here I'm going to draw her other legs, maybe just flopping in the air. It's just a line and a line here and I'm going to give some thicker sphere as if these are her feet and another line thicker line and another little thing here like plopping thing as if it is flopping in the air and another leg, you see that I shorten this line that is behind the body and it gives just a small twix gives the perspective, makes a perspective. You imagine which part of the body is in front, which is behind even though the wings doesn't sit 100% correctly, you have already the idea that the wings are flapping, that they're attached to the body. Not everything has to be 100% correct. Now, let's give this ladybug, the typical ladybug dots. The wishing on the ladybug for luck. Maybe this is the troll or the dragon, happy ladybug. Who knows? The dragon doesn't look very happy. A grumpy little dragon. Yeah, I don't know why my subconscious came up with that maybe because it was early in the morning when I started just had my coffee. You can just analyze your drawings and you see what things are you drawing. Maybe this can give you a suggestion where you are in the day or life. If you have a lot of grumpy stuff, I don't know. Maybe there is no connection at all, but I like to pay attention to my subconscious mind because the more I draw, the more I realize that my subconscious mind and the internet intelligence, I do believe in such stuff because before I did drawing and writing, I would just sit and wonder what to draw. And as soon as I understood that drawing just come to me and I could just relax and feed my mind with impressions and let it just run wild. I will be able to draw very nice and memorable characters. So that's what I do. I connected with the knowledge that I learned on drawing, and I'm trying to give you tips and tricks while we are doodling on what you can do while we are running wild with our imagination. And if you want more tips and tricks, you can just check my other videos. I'm much more you know, I give more structure there. Not as much. I really believe in freedom of drawing and making it easy for you. Here is another character that we doodled out that has some connection to these characters. Let's fill up this space here and see what kind of story can we build up in this sheet of paper and what the doodles that we did already. I'll see you in the next lecture. Y 12. The Alien Monster – Playing with Scale and Environment: So welcome back, people. I hope you already have something in mind reaching to this third video on the course of how to learn drawing by doodling. So we have this in the sky drama here. No one is standing, everyone is flying. Everyone obviously is up in the ground. So if we add someone standing here, maybe someone really, really tall. So, let's add then a giant here and a giant is going to be basically standing. So someone that has that is going to just stick out from the ground up and I was going to be looking at these creatures. And I'm going to start by drawing a large blob. I don't know how this giant will look like, just a large blob. And here we are going to get crazy again. Let's have this whatever large is going to maybe be some kind of a monster alien. And we will give him a couple of eyes and just place some spheres here and there and have him looking, connecting with whatever is happening. Obviously, the dragon is a point of attention. He doesn't care about the ladybug because ladybug wants the troll, maybe this guy wants the troll too, but for different reasons. Maybe wants to eat the troll because it's bigger than the troll and the troll has just escaped. While you're drawing new characters, try to make up a story about them. That will give you more elements to work with. I'm going to connect these googly eyes on the monster and make them even more. Part of this body and we don't know what the blob of the body is yet, but I'm connecting the goggl eyes with the body and this one here, it is a flesh sticking out from this body. I place the flesh just by placing it here and there. I shift the perspective of where this flesh ends, you see that this eye appears to be behind this eye just because I extended this line and created the impression of something being before something else. What else can I use now, shade something next to one thing to give it even stronger impression that this eye sits behind this eye, little farther in of this whatever creature it is. So now we establish that this guy, this creature here is wanting the dragon we wanting. This one eye looks at the dragon. The other three eyes look at the troll. Maybe that's his dinner. So let's have that maybe huge monster, have a huge mouth and maybe drolling. So I'm just going to open the mouth. So how do you look like when you droll? You have your mouth. Like open in kind of a sad expression or just the corners of the mouth are relaxed. You don't really know that you are drilling and a tongue is sticking out. How do you draw a tongue? Well, just make a sphere. Yeah, right. Just a sphere. And then how do you make it so the sphere looks like it's sticking out, the tongue is just a flesh sticking out. So to connect it to the sphere, just connect with a small curvature here to uh to define the tongue's flesh. A little bit above the mouth and here you just connect this sphere with this small curvature in here and you give the tongue a volume. That's easy with having it like that with the mouth and let's give some maybe sharp teeth. When you draw something with sharp teeth in comparison to round teeth, sharpness defines something more sinister. If you're drawing cartoon book, if you want to mom monster to look more scary, give it sharper teeth. This in our subconscious mind defines danger. One character with sharper teeth looks more dangerous than one with rounder chief. This is something like an element that you can think about. So whatever you draw, you want to draw. Something evil. Just make him more sharp on the edges, not just the teeth, but the whole thing. Just make him sharper, sharper head, use more triangular shapes. Yeah, I have a lecture on that on how to make an evil character look more dangerous or how to make a character, a normal character look more evil by designing it with more sharper edges. Now let's give the middle point of the tongue to get even more tongue looking blob and what else can and what else can we give him? Of course we can give him drolls. The drop is easy to draw. It is like a blob, like an ellipse coming down, but you just make a triangular on top. That's it, and you can draw drolls. Just draw a couple of drops and maybe some longer one and more uneven one. You see how much this creature is drolling. But then now that we have the creature, the druling creature, he is not just any kind of creature. Let's give him some personality. I mean, who is this guy who wants to eat both a dragon and a troll, basically? Well, maybe he has come to Earth and he doesn't know what to eat. So whatever he's eating, it's not enough for him. Let's have him eating an apple. His arm here, having an apple maybe in his arms. How do we draw an arm again? You guess that, draw a sphere, and a thumb on the other side and some fingers, three spheres, that's all you need here an apple inside. You see that I'm drawing one sphere on top of the other is just all in this array. Just make the fingers of this sphere, connect this sphere to these fingers, make a line of those two fingers. Maybe one finger sticking out here you just make a small dot and add maybe an apple stick sticking out just to signify it's an apple and shade this finger more. Maybe he's taken a bite. You just throw a bite on the apple. He is this apple. It's not enough, and now I'm making one more finger here, one more part of the finger, so it looks even more realistic. You see, when you draw something, you will feel like, Well, I can draw something just add a line and the finger looks even better. More realistic. I'm going to draw his arms, his chunky arm here. Yeah, he's been good. He's been trying to be healthy and not eat anyone from this planet. But obviously, he can't help it because he sees these guys flying, is drooling, an apple, is not enough. And is he slimy. Let's give him some texture. What is the next line of thought that we can add here? Is this guy furry? Is this guy slimy? Well, of course, it's slimy. You want to eat this nice dragon and this nice fluffy troll, you should be slimy. Let's make him slimy with this small stuff on his body disgusting blobs, stuff. He doesn't look as scary but because we can make him disgusting. So you see that if you want to make someone even more repulsive as a character, try to find traits that we humans find repulsive, uneven skin, something in his body that is not really 100%. We are looking at abnormalities and even though it is not right to do that, I mean, we are all different. It is some human nature, I guess, to be repulsed by some things because we want to strive to be healthy, to maintain our bodies to take care of our bodies. If someone is dirty or has an odor or something on their body, this kind of alarmas. Use that to make your character more repulsive, even though he looks kind of cute, but even though just give him the words on his body to make him look a little bit more repulsive. Can extend this character as much as you want, shade it. Every shading just give character even more volume. If you follow the principles that shading, whatever is more backwards is shaded and whatever is close to us is more white. You can just shade around the edges of all these volume things that you've drawn and give the character even more three dimensional volume. Hand, this arm can be shaded, so it looks like it is on the back of his body. So yeah, here it is. We've created this another unique character is ticking out and how do we know it's ticking out? Let's give some perspective to all these characters. And the relationship of one character to another, how big they are can be defined by maybe some background. So here we can add some mountain. In the back of this character. So we realized that this is the air and they're flying. And this character is disproportionally big because it reaches out so high. We don't know how big it is, but by the reach of this character, we can assume that's higher than the mountains. So there is this mountain in the background that gives all these illustrations some kind of a perspective. All right. So we have some mountains farther in here, further away. And just this simple trick, adding background adding mountains just gives you the perspective of where these characters are, how big they are in comparison to one another, and it just adds an extra layer to your story. Let's shade immediately when I see something behind, my hand goes immediately there to shade it and push it back. This is instinctively, and that's what's going to happen to you as well. When you learn when you draw more, you just want to place the things in the right order of perspective of shading them to push them back and bring them forward and so on, and just keep on drawing. We have some space here. Let's extend or drama here and draw another character. I'm going to do that in the next lecture. I'll see you there. I 13. The Ghost Clerk – When a Jellyfish Becomes a Ghost: I Okay, so welcome back. And let's explore another character here. We have the Love Lady Bug. Let's add some hearts before we start. Sometimes you want to draw something new, but then you explore an old character and you add some elements, you build up on the doodle. Like that, a Lovelady Bug. Who else can we have here? Let's have maybe we could have a cloud, but let's have someone more interesting. Let's have another alien from another planet come in here, maybe it's some jellyfish, a flying jellyfish. In coming in here because I drew these lines like that. I said, Why not to draw like a jellyfish. I'm going to make the jellyfish's eyes evil. I'm going to draw them uneven. They're looking at the dragon. Angrily. I'm going to give the jellyfish an angry expression as if the jellyfish is saying, Wow, this is my territory, so I'm going to give more volume to the jellyfish. It does look more like a ghost than a jellyfish, but that doesn't matter. I'm going to give the jellyfish some angry face and maybe a vampire teeth. It is a jellyfish vampire. I mean, who would think of that it doesn't look a lot of like jellyfish. It looks more like a ghost. We wanted to draw a jellyfish or I did, and suddenly I drew a ghost because these curves here apply that it is something of a costume, something of a different volume. Well, let's make a ghost then we wanted to draw a jellyfish and I suddenly drew a ghost. That's also okay. So let's have this ghost be of a guy. Of an old guy and I still has his demeanors. Maybe he has his hair has been old when he died and maybe this guy is a vampire, an old ghost vampire that is flying against this monster, what else can we build on that? Let's take what we've got here. Now let's give him a tiny nose because it is not anymore a jellyfish, but it's an old guy. A ghost vampire. So he has this hair. He doesn't maybe have hands. What else can we give him? Let's make him a pretend ghost. He has the face and he has, but he has also his body. Let's extend this part of the body. To make him a body. So he's basically put a white sheet on his head to look like a ghost. But actually, he has a body. So I'm just extend the line like that and maybe make a twisted legs like that. I'll have one leg here and with another curve, one leg here. So shoes, the shoes can be defined by just, you know, two dark shapes like that, you don't need more to define shoes and the giggly legs because this guy is a ghost, his legs can be anything. You don't have to follow any perspective. If you make a ghost movie, then well, your characters can be giggly and non perspective wise. So I'm going to have a guy who is hiding behind a ghost shape, and he is flying around because he is a ghost. But now that he has this ghost shape, the story is he doesn't fit into his ghost costume because he was just too tall when he was alive, and they just delivered this kind of size of ghost costumes and whatever the ghost spaces. So he's trying to fit in, but he's stuck, basically. I'm just going to draw some arms here. And you see, again, the hands can just do like that. He is tense because he doesn't want to be discovered. So because of that, I can do hands, one line here and one line for the thumb, doing like that and here as well because he doesn't want to be discovered and one line for all the fingers. They're going to be crooked fingers and that's enough to make a gesture. Here, when you draw poses, when you draw something and you find an emotion, just wonder, how is your body playing when you have this emotion? Try to pose yourself in that pose and that emotion and see what your hands do, what your feet do, what your body do. That's how you find the pose for your character. Then every pulse of the but it can be described with a line or a sphere. Just make this finger sticker and then you get a pose and with the fingers. Now he has a costume. He has been maybe very evil clerk who has never approved applications to whatever it is. He has misused his powers. So he is an angry ghost and he's flying around seeing the dragon. You know, it's in his territory. Obviously, the dragon is maybe seeing him. Let's make the dragon be angry because he sees this guy, the clerk hidden behind the two small ghost clothes or costume that they give ghosts so they can appear scary. So yeah. And that's how our new story came about. I didn't even want to draw a ghost or a clerk ghost. I just wanted to draw maybe a jellyfish, and that's what it got. And that's the fun part with drizzling. You know, you start with something, you draw something else instead of being super annoyed that you didn't draw a jellyfish as you wanted, you find a completely new story that is so much out there that is so crazy that you wouldn't have come up with if it wasn't for this mistake that you did or for this, um so called Association, this association game that you decided I will just go with my imagination, whatever my imagination gives me, I will not say no to anything. I'll just run with it and see where it gets me. I mean, this has never been drawn before. So now, they are giving away ghost costumes, and one guy has been too tall to fit in into the ghost costume that they delivered in Haven. So what do we have here? Isn't this a nice story? This can be a movie. We started with doodles that were all spread out from here. From that, we built the dragon. From the dragon, we had a troll riding it. From the troll riding it, we have a large butterfly that would look scary because it is a large butterfly I mean, it is not butterfly. I mean, um, what is it called? Lady Bug. A large ladybug. So after that, we drew a large ladybug. After the ladybug, we said if someone is giant, let him be an alien and the alien is trying to eat an apple and be good and healthy, but he's drooling over the dragon and the troll, obviously, he thinks they're more delicious, which make him disgusting with words. We gave him some words like, do not eat the dragon and the troll. Then in front of the dragon, we were going to draw a jellyfish. But instead, it appeared to be a ghost and a ghost of a vampire with hair and obviously of a large clerk, a tall clerk that was not good clerk in his life, did not approve applications of good people, and now he doesn't fit into his ghost costume. I mean, how crazy is that? This is what you can do when you do that. So you can come up with the craziest ideas, the craziest stories that live in you and you go from one association to the other, pick up the cues that your mind give you. And just run with it without any hesitation, without fear of failing, without fear of making something wrong. I hope if you like my lecture here, I have tons of other lectures in this site. So check them out and see what you like and come back here for more because I'm going to be doing more videos. So good bye for now. A