Sketch to Render Tutorial - Character Art | Joseffyne Robinson | Skillshare
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Sketch to Render Tutorial - Character Art

teacher avatar Joseffyne Robinson, Have you eaten today? :)

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

    • 1.

      Briefing - Sketch to Render Class Intro

      0:58

    • 2.

      Sketching Process Clip 1

      5:19

    • 3.

      Sketching Uzi and Mention Reference Clip 2

      1:36

    • 4.

      Coloring Lineart and Local Color Clip 3

      2:02

    • 5.

      Basic Shadows and Coloring Jacket Clip 4

      1:22

    • 6.

      Rendering the Pants Clip 5

      0:43

    • 7.

      Rendering the Jacket Clip 6

      4:41

    • 8.

      Cleaning Up Pants and Jacket Clip 7

      2:19

    • 9.

      Leg Strap and Pants Details Clip 8

      3:05

    • 10.

      Rendering the Face Clip 9

      4:05

    • 11.

      Rendering the Hair Pt1 Clip 10

      3:36

    • 12.

      More Hair Rendering and Highlights Clip 11

      2:38

    • 13.

      Small Details on Hair and Pants Clip 12

      2:47

    • 14.

      Hand Cleanup and Uzi Detail Clip 13

      4:34

    • 15.

      Cleaning Up Hand and Jacket Detail Clip 14

      2:52

    • 16.

      Rendering Left Shoe Clip 15

      2:14

    • 17.

      Rendering Right Shoe and Color Clip 16

      2:28

    • 18.

      Adjusting Shadow and Adding BG Elements Clip 17

      1:48

    • 19.

      Final Detailing Clip 18

      4:19

    • 20.

      Final Look and Brief Clip 19

      0:49

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About This Class

In this class, you'll be learning about my personal process when it comes to creating character art. I will start from a rough sketch and take you through the steps I take to fully render the entire piece. This video is not real time but I hope it gives enough information and tips as how to approach a character sketch. The class is meant more for intermediate artists but you can still apply the same techniques to a smaller character drawing such as a portrait or prop. If you have any questions, feel free to ask me and I'll help in any way I can! 

Meet Your Teacher

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Joseffyne Robinson

Have you eaten today? :)

Teacher

Hello! My name is Joseffyne, Jo for short, and I'm currently working as a freelance character/concept artist. I've made many tutorial videos on youtube in the past, but wanted a more professional platform to teach fellow artists on. I hope my courses serve you well and that we get to know each other and encourage each other within our personal community! 

My courses will consist of in-depth character, environment, and prop design that will help jumpstart you into creating more dynamic and stylized concepts.

Hope to see you in class! Check out some of my work below to get a jist of my main art style.

See full profile

Level: Intermediate

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Transcripts

1. Briefing - Sketch to Render Class Intro: Hi, my name is Joe. I've been working as a feeling and illustrator for about five years and I'm excited to transfer knowledge to anyone who's looking to start your adventure or to simply improve. In this class, I'll be going over important points regarding my whole process as to how I go from a rough sketch to a fully rendered piece. Everything is slightly sped up since I want to mainly focus on the steps of the process rather than put new dual, long real-time sketching and rendering video. This process is solely based on my personal technique. So please be sure to remember there's many ways to go from sketched a render, and this is simply one of them. The project for this class will include a portrait sketch of an original character you wish to bring to life. You can go farther and dual full body sketch if you like, but if you're not comfortable with that, then you can just stick to a portrait. I highly appreciate you taking the time to watch the course thoroughly so you don't miss any important points or details. Don't forget to take a break every now and then to breathe and soak up all the information on given. And I'll see you in class. 2. Sketching Process Clip 1: Right now we're starting off with a simple rough sketch. I don't like to start off with too much detail at first, I like to bring out a lot of big, rough shapes so I can figure out the orientation that I'm going to put my character in. And short disclaimer assistant my character, but we're just going to say my character for now. Here I'm working on the legs. And the legs were a bit difficult for me. Don't quite know why. I think I was just trying to get the leg shape. Correct. I didn't wanna make are too short and I didn't wanna make her legs too long. So here I was just trying to do some tapered cylinder so it'll be a little easier for me to draw the legs. Makes sure you don't get stuck focusing on details throughout the sketching process because this can take a lot of time and it can make you slightly overwhelmed. I see a lot of rookies try to kind of chicken scratch their way into making their character. And what I mean by chicken scratch is they, they kinda just etch out the characters edges. And all they do is make sure it little lines and try to put in as much detail as possible primarily, which is something you don't wanna do. Draw out bigger and more simplified shapes. Trust me, this will save you a lot of time. And it doesn't matter how rough you start out because you can always choose to draw over this sketch layer does really rough sketch layer with another layer. So if you look to the right, you have the background layer and then I have my sketch layer. Some people do tend to take their rough sketch layer and they clean it on the same layer like I do. I tend to keep the same layer, go back later on and then clean the sketch like you can see that I'm doing right now is take certain parts and I'm like, oh, that seems a little rough. So I'm gonna clean it up right now. But when other people do, is they do a really, really rough sketch. I'm talking very indecisive, very dirty, rough. And then they take another layer and they put a cleaner sketch layer on top. You could do this. It takes a little bit more time, but honestly, it might take the same amount of time as you just using the same layer to draw cleaner sketch. Here you can see I'm starting to work on the face a little bit more. This is pretty much the second part to how I sketch. I started out really rough as you saw. And now I'm just trying to clean up this sketch and I'm still on the same layer. If you look to the right, I still am on my primary sketch layer. I didn't make a new layer like some people do. Although you can, there's, there's like different techniques to how you can clean up your sketch. It's quite all right if you do another one. So it's okay to not have everything at first. And I'm talking to a rookie artists, it's very much okay not to have a perfect sketch. You do not need a perfect sketch. Sometimes things are added at the end, sometimes things are changed, manipulated, made smaller, made bigger. It's very much okay to do all of that at this stage because you're still sketching and you're just trying to clear things out and make sure that your 98 to 99% sure that this is what you want to color. And also another tip, unless you're doing line art or presentable sketch for your art director in a studio or something. Do not worry about line weight at this point. When you do line art, line way is something that kinda makes your sketch or your liner look a lot more interesting. You don't really need to worry about that when you're just sketching and you're gonna render over anyway. So if you're trying to get a stylized sketch going, you could do it to imply some shadows perhaps, but other than that, you, you don't need to do much lightweight, so please don't waste your time doing that. You're not trying to do a presentable sketch or clean and crisp line art. So here we're almost done. We're just getting the small little details like the folds of the close strands or the hair, fixing some stuff like the hoodie back here and the shoes. Of course, I have to go in and find a reference because I didn't like how the shape of the shoe was. I had something in mind but you can't always think of exactly what you want from your mind. You have to go out and look for it. Speaking to my rookie artist again, always use references. This is very important. Using a reference is not cheating. Do not worry about what other people say. Using references is not cheating. People back then in the Renaissance, always use references. Do you think they could draw a person from their own mind? Probably not, or they could, but it wouldn't look as accurate as a real life person. So if you have trouble drawing something like, let's say, I want you to draw an elephant, but you've never seen an elephant before. But you're going to do, it's not going to look like an elephant when you're done, right? So look for a picture of an elephant and then you can draw it. So please rookie artists. Please use references. I'm begging you. 3. Sketching Uzi and Mention Reference Clip 2: Please use references. I'm begging you. Hear just fixing certain things. It's very much okay to just take a step back sometimes, even if you're just in the sketch phase, I know you're not even, even in the deep of it yet, but please take some time to take a five minute, ten minute break, get a snack and some water, and then come back to your sketch and make sure that it's something that you like. Here. I changed my idea from the little pistol Reagan looking thing, and I wanted to include a micro Oozie instead. And of course, I don't really know what a microliter, micro looky, micro Oozie looks like? Not 100% at least. So I looked up a reference. There was, this was like the pattern on this one because it was kind of interesting, but I don't think I ended up using that later on. So yeah, I'm just cleaning up the hands here. Try to make it look like I'm the characters actually gripping the gun. And I changed the arm angle because tangents, I don't know if you can see, but the butt of the gun was slightly in tangent with the jacket sleeve. I think I fix that later on, but as I see it now it's kind of bothering me, but we'll ignore it. Here. Putting in little little shadow areas for some guidelines later on. Putting in mind seems, oh, that little heart chain there I don't think I added towards the end, but I did try to make the character look like it did originally. 4. Coloring Lineart and Local Color Clip 3: Here I'm changing the color of the line art if you want easier rendering. And this is from a personal perspective. If you do want easier rendering, change the color of your line art or your sketch. It'll make things so much easier. And I always do a few shades darker than the original color that you're planning to fill it in with. So here, yeah, the pants are darker blue, jacket lining is darker blue. And here I'm filling in the skin so you can still see your line art. But when you render it, you'll see later on that it'll be so much easier to fill in color. So I know things look a little weird now, but trust me, trust the process always just the process. These are basic colors are not doing any rendering it. So try to find your basic, or some people say local colors. This is kinda low mid ground of the color that you want to use for a certain object. So these aren't highlights, these aren't shadows. These are just the mid neutral color that you want to use. And the shoes are going to be white. But I filled them in with gray because I can't see what I'm doing against a white background. So it's just a pretty much a filler color. And I feel in the hair with all pink at first. And then I'll later on change it to a rainbow color. What I suggest that you do when you first color your character or your object is try to have separate items on separate layers. So the pants, the jacket, the shirt, the shoes have those on separate layers at first because then later on you can go back and change the color if you don't like it, without affecting or manipulating any other part of the character. Here and just getting little teeny tiny details. Getting the straw. I separated the straw because I wanted to render that separate from the hair and then maybe move it with the Lasso Tool later on. 5. Basic Shadows and Coloring Jacket Clip 4: Now we're working on basic shadow. I use a multiply layer for this, and I clipped this layer to the color layer of my character. Try not to focus too much on the little details of the shadows. Like certain strands of hair might make shadow. The clothing folds might make some shadows. I just try to put in the most basic shadows that I can possibly do. This will make it a way faster process. So just think about where your primary source of light is. From here, you can tell that the source of light is up and to the right because the shadows are falling down towards the left. And here on the right leg, I wanted to have a shadow cast onto the right way because the left leg is in front. And you can see that my shadows or not, of a gray hue. I wanted to make it more of an interesting hue because most of her color orientation is like purple, pink, maybe some blue in there for violet. So that's what I wanted. You don't always have to go gray when you do shadows. And with a multiple layer, it's very handy to have a multiply layer over your color layer because then you can just manipulate the color of the shadow that you want. 6. Rendering the Pants Clip 5: And here I'm coloring in the jacket. I didn't wanna do the Bobo filled sleeves because I don't know forever my character type or design. It just wouldn't really work out that much. Be kinda hard to do as well. So maybe I cheated myself out of that, but honestly, I like the way this looks a little better. And here I'm putting in some secondary shadows, some highlights as well. I'm very roughly putting in other sources of shadow and light. I'd like to use a semi hard, semi soft brush. And I'll try to put a picture of the brush that I use over on the side of the video. 7. Rendering the Jacket Clip 6: But it's very roughly put in. I'm not thinking about details right now. I'm just trying to roughly putting some shadows. I like to use a combination of soft and our brushes. So if you look to my brush list at the right side of the screen, you can see that I have soft and hard brushes, ignored the textured ones. I don't use those very much. And also something you'll notice is that I use the lasso tool very much. I love using the lasso tool. This helps isolate certain shapes and areas that you don't want to effect. So here for the sleeves of the jacket, I like to lasso the sleeves so I don't draw on any part of the main jacket. It's very, very hopeful, especially if you'd like to do a o a lot, which is ambient occlusion. It helps you put in a lot more stronger shadows and tighter shapes as well. It gives you tighter shapes. So this is it can be a very extensive process. Johnny, get all the shadows in. But if you just work at it and you focus on your values, then it will pretty much be a very fun process. You know, put some music on and just kinda focus on what you're trying to do. Because the jackets leaves are puffy. You do need to focus on volume and shape depending on what your character's wearing. So I like to use a soft brush to bring out the shape of the px obviously is on the jacket. And I can also use a Haar brush to kind of separate the seams to include little details like that on the jacket. A0 is very handy to bring out the certain parts of the jacket. I like to keep a rule in mind that use a soft brush to bring out volume and use a hard brush to sharpen edges. There's a thing called lost edges and hard edges. If you use this technique, a lot of your folds and other edges that you need in certain objects, it'll make it look a lot more natural or even more stylistic if you want. But please use a combination of hard and soft brushes unless you have a certain style. Of course that I'm not going to I'm not going to be irked about it. But if you're trying to achieve this sort of rendering style where you have soft edges and artists at the same time then obviously have hard ends off brushes. Here I'm using the lasso tool because I don't want to accidentally paint on the sleeve and it makes it a lot easier to isolate certain shapes so that I can have clean orientation. So here Yao is working on the jacket stream year. And notice that I focus on the way that the jacket string is bending. So you can see as he bent down, I possess shadow there. As it bends back up, I put some lighter values. And of course I bought an AO shadow underneath. Means ambient occlusion, by the way, if I haven't mentioned that here, just trying to clean up the jacket, trying to get the little seams. And I also focus on value here. So the top lip of the Jack gave, which is pretty much where the light is coming from will be lighter than the size of the jacket. Please keep that in mind when you're drawing close. And right here, I just wanted to make the shadow a little darker to bring out the space in between the jacket and the shirt. It does help a lot. Here. I am trying to clean up and add some more details to the jacket. On the original character. To the left, you can see that there's like a little white strap on her jacket. I didn't follow her jacket design 100%. I did change some things because this is a draw, this in your style challenge. But if it's mostly to the character design, then it should be okay. Here I'm making some tension folds. And near the armpit where the hood drapes over the apex of the sleeve where this leaves Punjab and their tighter et cetera, et cetera. For these tension folds, I like to make the inside a little darker. So here, Yeah, you have to focus on value a lot when you're trying to work with folds of the clothes and how the quote is oriented. Please, please, please focus on that. It'll make your character design look a lot more consistent. So what these puffy sleeves, the shadows or of course we are going to be darker near the little pinched part to separate this lesion at the parts. 8. Cleaning Up Pants and Jacket Clip 7: Very easy to do, just use the lasso tool and a soft brush. In here. We're now working on the pants. The pants probably took me as long as the jacket because I really wanted it to look cool and I really wanted them to make everything look tied together as an outfit. I really like the pattern of the little clouds and stars from the original character design. So I will be putting this, putting those in later. So here we are trying to get the folds. I will try to make it tutorial on folds in another video. But since this video is just a whole process thing, I'm not gonna go into too much detail about it, but at least you get to see how I do them. I do like to use the lasso tool sometimes to bring out some sharper shadows, but that's as much as I use them for folds. I don't like to use them all the time. I know an artist called Muhammad OG body on YouTube. He does like to use the lasso tool a lot for clothing folds, but that is his style and it's something that he likes to do then that's perfectly fine. But I like to use it sparingly. I don't like to use all the time. I'm working on some even more tension folds and I'm trying to make everything look a little tighter. Fixing some shadows here and there. This is the time where you can start to kind of fix everything. I mean, not everything at the same time, but certain parts of what you already painted over. It could go with some fixing. So here I'm trying to make the folds look a little cleaner, shadows, a little darker. It's very much okay to do this at this stage, but try not to bounce around too much between what you're trying to finish and what you're trying to do next. Here I got more work for the sleeves. It was a little difficult to try to get the AO Don on the right side of the sleeve. But it was pretty accomplished sharable if that's a word here, trying to get a little ridges on the sleeves because I liked how that looks. And I think we're pretty much done with that. Bart. Don't forget your values. And if it helps, please do have a reference of Puffy jackets on the side of your screen. 9. Leg Strap and Pants Details Clip 8: I have references on the other monitor, but I can't show them on this screen because it does crowd up the canvas. So sorry that I can't let you guys see all my references here. Working on the lake strap bag and key chain, which is the little thing hanging from her pants up at the top. Try to focus on volume with thinner objects as well. Stylistic wise, I didn't focus too much on like really teeny tiny fold or texture because this I tried to keep the colors as clean and consistent as possible. So this little strap here, it is a strap. So please remember the rules of volume and light source. So I tried to make a very thin rectangular 3D kind of thing, kinda shape. So I make that little top seam at the, at the top. So to try to think of it as a 3D object, you don't wanna make it look like as a piece of paper strap to the leg is what I'm essentially trying to say. And here he's a little keychain thing. There are little keychain strap. We're not really sure what those are called. So here I'm also utilizing the lasso tool. Again, you can use the free form, but I like to use the polygon or Lasso Tool sometimes to make very clean shapes and clean up messy edges. Now we're working on the pants patterns. There's a lot of light, little stars and rainbows on the original character design. So I thought that was pretty fun to do. I do these on a separate layer. Do not do them on the same layer, you will regret it. So here's just a little moon. I'm working with the hard, semi hard brush for sharper shapes. And putting this on a separate layer for now because I do want to hide them and use them later on when I'm sure that everything is okay in terms of shadow and lighting. Some of you out there may ask, why do you put that on a separate layer? While if you do put them on the pants, if you want to adjust the shadow or lighting, or if you want to change the color completely or change certain folds, then it'll be very difficult because then you have to erase all those patterns or you have to manipulate them and they're on the same layer. Here we're working on a little rainbow stripe using a hard rush, still. Getting in the red, yellow, green, and dark blue. I think the darpa was kinda hard to put in because it's very, it's a very thin stripes so you won't see all of it. And here I put a multiply layer over this and I clipped it so I could focus on the way that it wraps around the lake or drapes over the lake. That was a very important step because you don't want to make it look like a flat stripe on the pants with no light and no shadow affecting it. 10. Rendering the Face Clip 9: And now here we can finally focus on the face. The face is usually the first thing that I work on. But for some reason this was one of the last things that I was working on. I think it's because it was intimidating me. Looky. I will make a tutorial about how to render a face, definitely in the future. But like I said, this is a process video, so you won't be able to see too much detail about how I do this. But here we're just working on getting the shadow right and that bit of light on her right cheek, you will see that the outer edge will become a lost edge. That it makes your face looks a lot softer. I am using hard and soft brushes for her face because I like some edges to be sharp and some soft. Like her makeup. I use a soft brush. Her eyelids. I like to use soft brush. Her lips underneath the lips for the AO soft brush. For her face shape. I used a hard brush so I could define her jaw line. So I'm yeah, I'm sorry. I can't put too much detail into how I do the face at this step. I will definitely make a process video for this. It'll be real-time too. This character is overall stylistic, so I don't really focus on too many realistic features. The little button knows the smaller than average libs, big eyes. All of those kinds of features are not focusing on realism at this point. So if you're a Rookie artist and you're wondering, what does, what does she look like a cartoon character? It's because he kind of is, but it is in my style. My style is semi realistic Most of the time. So I tried to keep that aspect of her going. I try not to put in too many realistic features at this point because it will break the style factor, it definitely will break. You can't tell because of the speed that I put in this video, but I do consistently and constantly alternate between soft and hard brushes. So things like the eyelashes, the eyeball shape, the nose, the lips are used soft brushes, but sometimes I want to get a very hard shaped like that little eyelash wing right there for the make-up or the bridge of the bottom part of the eye are not usually that's called near that tear duct. The eyebrows sometimes I want to get a sharp shape, make a look on fleet, as the kids say. So I like to alternate brushes constantly. So I suggest that you have a short brush list on your right side so that you can you don't have to have an overwhelming amount of brushes to choose from. In my personal experience, I've only used five brushes at a time. Some people only use one brush at a time if you can believe it. Some people use 30 brushes at a time. It's all personal preference, but I suggest that you try to keep your brush them out short. You don't want to use their devices at the same time. If you don't have to, it does get overwhelming. So have a rendering brush, Have a hard brush, soft brush, in-between brush, all that kinda stuff. Here you can see I'm using a lasso tool again so I can separate the face from the hair. And I have to affect the phase at all. Very handy. I'm actually quite surprised that I didn't take so long on the face. I usually spend a long as on the face, but I guess I'm getting better at it. So there's that. So here in Sweden on the ear, I did have an ear reference over to my right monitor. Like I said, I'm very sorry that I can't show the references that I had. It goes clunk off the screen. So I I had to limit the amount of stuff that I could put on this main monitor. 11. Rendering the Hair Pt1 Clip 10: Yeah, just putting in a little makeup. And now we get to the hair. I will definitely make a hair tutorial. I get a lot of people asking me, how do you do here, Justin? I got you. Don't Worry, Be patient. I like to think of hair as ribbons. I know that's a little weird to think about, but trust me, if you think of hair is ribbons bigger, easier strands to work with than I promise you you'll have a much easier time doing hair. A lot of rookie artists like to look a hair as individual strands. And that's exactly what it is, yeah. But when you draw it, of course you're not going to want to do individual strand is gonna take you forever. So think of them in bigger parts, bigger strands. So here it looks like I'm trying to separate the hair in certain strands that I mainly want to poke out. So for her bangs, I want a few strands, not too many. And I like to use the lasso tool as well to show certain strands of hair overlapping each other. And I'm also focusing on volume. So as the hair curls downward and towards the face, it does get darker. Here is a short overlay layer or a basic overlay layer. I'm sorry. You can just put that under, sorry, not underneath over the hair layer. And I change the colors of the layer two. So the overlay looks a little more interesting. You don't have to chorus, but I like to make my colors look a little more interesting so you can just do whatever you like. And here I am adding in some more shadows. It's very important too. Try to separate the hair. Some people like to draw it as literally one piece so it doesn't look all that natural, does something you have to watch out for. This was a little more difficult than usual because obviously we're working with rainbow gradient hair. So I had to kinda focus on keeping the color consistent and try not to stray away too much from the gradient. Or to make certain parts of the hair not match up with the rest of the hair. It was kinda difficult, but pretty, pretty achievable. And so you see here on that strand of hair to the right, you see that it has a little bit of ao because it's overlapping other pieces of hair, this is highly important to get that effect. Please use the lasso tool and follow the shape of the hair. So you can see, yeah, I'm using the lasso tool and I'm getting a very deep dark blue. And I'm just putting in shadows underneath other layers of hair. This is how you can easily layer hair. I'm telling you. And I also, like I said before, I focused on the value so as the hair drapes over the skull, try to use a darker color and a lighter color as the hair flares back out, if that's applicable to your situation. I liked I liked most of my character's hair to have a shape to it, have a certain shape, have some flyways, you know, as as if they're walking in the wind or something. I don't like it to be all too perfect. I like some hairs to be random and free. Makes it look a lot more natural. 12. More Hair Rendering and Highlights Clip 11: So now we're working on the other side of the hair. Same rules apply here. Just tried to use the lasso tool. Isn't darker shadows going in. So you can put in some AO and it'll make the hair strands look a lot more convincing. Because paired does tend to layer each other unless you have pinned straight hair. But even then, when you have spunk e hairstyles like this, layers are very convincing technique to add to your overall character design. It's pretty cool. If you want to, you can use a hard brush and put in small little flyaway hairs. It does make hair look messy. But if you want that more natural look, that is something that you can think about. So here I use a soft brush to kinda soft in the hair and then I go in with a smaller soft brush to get those hair strands in. The space looked a little empty. So I just added another hair strand because I was like, oh, that doesn't look right. And yeah, just putting some other strands. Layer the hair a little bit more because it looked too flat. So you can make all these decisions while you're doing hair. I'm definitely going to have to make a tutorial video for that. I think it'll be fun. And you all can work on a little project. I can give you all a base head to work with and you can make your own hairstyles and I think that'd be pretty cool. So here, Yeah, just putting in more little strands. You see how much more natural that looks as that of everything looking like. It's all one piece and one strand. It does help a lot small details like that really helped to bring out a lot more fluidity and style. So don't worry about your hair being too perfect. It's not supposed to be perfect. But little details like that or something that you should definitely focus on. And remember, here I'm just going around and cleaning up the edges of the hair. Very, very tiny things that you can't really see, but it does bother me. I'll just go in with the hard Brown, a racer here working on the overlay layer that we had earlier. I like to call it little strands into it or little lines. So I can kind of imply that the hair is separating. Here. I'm putting in another overlay layer and putting in some more highlights. What I do the hair tutorial, I will tell you how I do these highlights. I know it's fast right now, but we're not focusing on hair today. We're focusing on the process. 13. Small Details on Hair and Pants Clip 12: Here I've put some AO, separating the face from the hair itself. This helps quite a bit because hair's not flat on the face. It does float above. Not float, but it is above the phase. So you wanna make sure that it's separating. Subtle effects like this. Help a lot. I don't what does it look like much. But trust me, it does. Here. I'm just kinda fixing the value because I wanted the left side of the hair to look a lot more darker because it's facing away from the light. Of course. Here fixing some more values. And right there, just use a color adjustment layer. Here's the straw that I was talking about earlier. I really wanted to separate it from the hair because I don't want to draw that on top of the hair. And I put a little purple bounce light towards the bottom of the straw. Obviously, if you know what a straw looks like in real life, if this shouldn't be too much of a problem. And here I'm also working on the little details like the yeah, the jacket strap says rainbow on it with rainbow colored layers or sorry, letters. Very clever. And we're also back to the pants. Patches. I think they're patches, stickers, patches, whichever. And notice how I manipulate them to the shape of the lake. You don't want to put them flat on the leg because it'll ruin the overall shape of what the lady is supposed to be like as the lake slot. Where is delayed 3D? I mean, this isn't a 3D model, but we do want to respect the overall shape of the character itself. It is in a 3D environment. And little cart face tattoo or sticker. I'm not sure. So it's nice to step back and take a break and see what you've done. So please don't forget to take a five to ten minute break after a long period of working on your character. Here, I'm just going in and I'm fixing Super tiny details. Before I move on to the shoes. Here, I will just wanted to put a few more clothing folds here and there. Some things didn't look right, so I just went in and fix them real quick. You don't have to wait until the absolute end to fix things. You can always just fix things as you go. It's okay to leave these things until the end. But I personally like leading up very small things along the way. It makes things a lot easier for me because then I don't have to go in and be like, Oh, I can't believe I forgot this, this and this. 14. Hand Cleanup and Uzi Detail Clip 13: Variety. Now, this was my favorite part. Not really. We're working on the micro Oozie. So I try to get everything in a very flat and clean shape at first because we're working with a metallic object. Very geometric. So everything needed to be pretty much, if not 100% perfect. Just a, you know, a more rigid and thought out shape. So that's why I made everything flat and simple and clean. First. Here, yeah, and just putting in all the basic shapes. Then I came in with a semi ARD brush and I put in all the little details. I didn't put every single little detail. I think I skipped a few little notches here and there. But I pretty much gotten 90% of what the microwave Oozie supposed to look like. I use the polygon. Polygon or polygonal. One of those, the lasso tool to put in these values. And I also use a soft brush to get those softer edges. Like as you can see, if you looked at the reference to the left, you can see the grip of the gun is a little softer than the hard metallic edges of the top part of the gun. So yeah, here I'm just trying to follow the reference as close as possible. You don't have to do every single little detail. Because like I said, this is a stylistic character design. So not every single little detail has to be there and you have to just put enough information for the viewer to be like, okay, that's a gun. But also you don't want to leave too many things out because then it will look a little inconsistent. Semi realistic is a little tricky to pull off, but just think of it as most of the information is there. Not all of it. Realistic. All of the information is there. Semi real estate, not everything is there, but you can still tell what it is. That's the most basic way I can explain semi realistic. To be completely honest with you, I don't really like working with metallic objects. It does keep kind of mundane and boring. But you can always add a little flair to these kinds of objects. Here, just working on the fingers that are gripping the gun. If you're not an expert at hands, is can be a little tricky. Making hands look like they're actually gripping something can be tricky. You just have to remember the rules of how the hands acts when they're grouping something and when they're relaxed and loose. I still have a little trouble with this, but I can't explain too much on how I do the hands here. So just take my word for it. Try to do some studies if you really have trouble trying to do this kind of stuff. But here you can see that I'm using the lasso layer or sorry, the lasso tool to kinda get in that ambient occlusion again. So it makes it look like the hand is actually gripping the gun. Very tricky. Don't be discouraged if you can't get this right on the first time. It took me a little bit. But I just wanted to make her look like she's just holding the gun. John. I'm not trying to make her pulled the trigger, anything that requires a little more effort. But I wanted to just to make it look like she's, you know, she's sporting it, not using it, she sporting it. And here, just getting in even more small details. And it's okay to pull certain things from real life. It's very important to have references on hand. So you can see here I'm putting in textures. This is a real life texture. I literally went to my kitchen wall and just got all the little textures from it and made it into a multiply layer. Here I'm changing the color of the spout and I'm sorry, I'm not an expert. I don't know what these parts are called, but I thought I'd make it look a little more interesting. And it made be muzzle black and the cartridge a darker color. I'm sorry IF these parts are inconsistent or inaccurate, I am not an expert. And I put little words. So cute for a little heart because you know, Kawakami desu or one of the kids said. 15. Cleaning Up Hand and Jacket Detail Clip 14: Here we're working on the hand. Yeah, I left this for last because I Frick and hate hands. I just I hate drawn them, but it is necessary so you have to practice with these, try to do some studies. I find studies helped me a lot with hands, especially hands and feet, are the worst. Ask any artist will ask any artist that isn't good hands. I mean, I don't know. I think most artists can agree that hands are frequent, typical. Okay. So put some AO and up with some darker shadows to kinda separate the fingers bit. Yeah, don't get discouraged. I've been drawing a long time. I kind of know the rules of hands. I'm still not good at them, but this is the best I can do and is way better than what I used to be able to do. Put some AO underneath the sleeve. A0 helps a lot to separate these kinds of things. I'll definitely try to get a more in-depth video going for you guys for that particular topic. Here, which is working on some darker shadows because I didn't really like the way you look at that much. And here, I think I start to change the size of the hand or the size of the sleeve. I did take a quick break before this. So I saw that the arm is a little too long. So I fix that with a lasso tool. And I press control t to transform. And I fixed it. So now it looks a little better. It's always a good idea to just step away for a bit. Because then you'll see your mistakes sort to really take form. And like all I probably need to fix that. Here's the hard lasso tool again to get in some deeper and more soft r is not soft sharper shadows because that's just the way I like. That's my business. And there was a rainbow that I missed on the jacket. So real quick, EBRD, I just yeah. Just tried to incorporate that. I didn't want to leave that out in the open when people are like, hey, you've got a little cloud on the jacket. Listen, people got priorities. And I just forgot the little rainbow on the jacket. Wow, you Pressing me. Sorry, I just talking to myself. Alright, so here, yeah, I manipulated the shape to match the jacket. Very important. Please use a manipulate tool. It's very handy. And I just hit that underneath the little jacket strap for a little more eo so it matches. Then I combine and we're good. And I clean out the outer edges. Sometimes you'll find some lost soft edges. So try to look out for that. 16. Rendering Left Shoe Clip 15: Oh, look at this. My favorite part of the entire character design tutorial. Shoes. I hate drawing shoes. This is the absolute worst part of any character that I've done. I hate drawing shoes. But if it's an interesting shape, I'll be okay, but most of the time I'm like, I dread this. So here I'm not focusing too much on the small little details at first, I'm just kind of going like OK, the light value or the light source is top right? So let's try to follow that rule and just try to get these volumes in. I did put reference of the shoes on the right side of my screen because like I said, like four times, I cannot crowd the screen. So I'm very sorry that I can't show these references, but they are on the other side of my monitor. Though. Yeah, here I will just cleaning up the shape of the shoe. These are kinda like you ever see those girls that were the very chunky Philae shoes. I think that's what they're called. But this was kind of the style that I was trying to go for. I saw some cooler ones that were more streamlined. Well, which I very much liked. So I went with that instead, I didn't really go for those chunky fill the shoes. I don't know how anybody can wear them. They're so heavy looking. But anyway, yeah, so here I'm just trying to get the overall shape. I do change some things here and there. And I think we also go onto the less you very soon when you're doing shoes and you don't know what the other side looks like. The best eigenstates improvise. You're not always going to find a very good reference of the shoes, especially this type of shoe, where the shape is already kinda weird and not always going to find the best references. There's not gonna be a 3D model of the shoe where you can turn it around and you can see all sides. I wish. God, I wish. But that is not the case. So sometimes you have to guess, as long as you make everything look the same on the other side of the shoe, then you should be fine. Here. Didn't want reduce shoe strings, I just wanted to do straps instead. 17. Rendering Right Shoe and Color Clip 16: And here, Jeff, we're going to start to work on the other shoe. So yeah, here, like I said, it was kinda hard for me to make up the other side of the shoe are like the inside of the shoe. I didn't really know what that looked like as my reference was not good enough. So just improvise. As long as everything looks correct or consistent, you should be fine. And here I didn't want to focus on the shadow too much, so I just kind of coloured over it again. And then I can just add the shadow back again later on. So yeah, here just changed some things. Didn't like the shape that I was working with. Try to make it as consistent as possible. Clean up your shapes, use a hard, soft brush and you'll be just fine. My mistake was, I only had one reference for these kinds of shoes and ours. You know, sometimes you can get a little lazy and you don't want to find all these other kinds of references. But to be fair, it was difficult to find more references for these kinds of shoes. But if you're working with things like this, try to find multiple references from multiple angles because then your, your brain is going to be able to put together what they look like in a 3D environment. I know a lot of your life put the No, I can't. That's a superpower and trust me, your brain will be able to process this. Especially as an artist, you have to just improvise a lot of the times. Not everything is going to be handed to you, especially in terms of reference. So you have to just make things up. It might not be accurate, but if it looks consistent, it looks good. He's gonna carrier. So here you can see I'm putting in the little details like the air holes at this top part of the shoe so your feet can breathe. Little shoe lays hold, which I don't know why I put because they don't have shoelaces. My mistake, but whatever. Also they looked a little plane. So I used a multiply layer to try to get in a light blue color. For some accents. I didn't want to leave them plain white and look just Boren. So just some little accidents here and there. Here we are putting in a little bit more of the accent. 18. Adjusting Shadow and Adding BG Elements Clip 17: Right here, I just wanted to adjust the shadow. So you can see I put back the shadow on the shoe because I didn't want to work with that on top of the shoe. Cleaning off some stuff here. This is a good time to kind of laid back and take a look at what you can fix real quick. Here. I'm just working on certain parts of the eo. So I did a separate multiply layer and I think a job combined it. And I think now we're going to work on some background elements to make the character look more interesting. You don't have to do background elements. But when you're trying to do present a character for promotion or a new character for a video game. You want to make them look as interesting as possible without doing too much, of course. So here I just did some sort of sunburst spark shape. I made a rainbow colored, Of course, I put some shatter. Alright, so doesn't look too flat. And here are the tap yoga pearls because I don't like to call them Bobo balls. Its a little difficult to say and odd. I tried to make them brown at first, but I didn't want that color, so I just switched to black or an almost black, not completely black. So just some basic spheres here. I know the light source, so I put the highlight at the apex of the wall. I made some smaller ones as well because I want those to be in the distance to add depth to the character. And I also added some bounce light from the colorful jacket. You don't have to do this, but I kinda wanted to do to make the environment mixing with the character itself. And I made the farther tip Yoko portals blurred and a little lighter. So it looks like it's fading into the background. You know what I mean? 19. Final Detailing Clip 18: And here, yeah, just fixing fixing up the shadow and I'm changing the background color as well. To just make this look more Instagram aesthetic, if that's what you can call it. To try to make it look more appealing. If you're trying to, you know, as you're working in the industry and you're about to present a new character to the art director or the client, then it's always a good idea to try to add a little bit of background elements so it doesn't look too simple. Just be careful when you're adding back-end elements. You don't wanna take away too much from the main focus itself, which is obviously the character. So there's no problem with putting in little things. Here. I'm just putting in rainbow Bobo, turning it to the side and making it smaller so it doesn't take up too much of the focus. I also put a little like drop shadow underneath sharp drop shadow. And I made it different colors because rainbow baba and I had to make the draw shout a little darker because it was kinda hard to see against the light blue in there. Yes, this was for a DT iOS. So that's what I labeled it as. And I didn't like the empty space between the rainbow Bobo and the bottom edge and then the FBT, DDI YS and the upper edge. So what I think what I did later on was I put hearts or something. So here I'm just putting little sparkles in the background. Make it just not look so plane. That's literally all I wanted. I took an overlay layer and tried to adjust certain things, does a very small adjustments. You don't really have to worry about what I'm doing here. I just took an overlay layer and just tried to tried to put like a small rim light on the left edge. Runway is not always necessary on a rim light is used on many character designs, but you don't have to, if you don't need to try to make some smoke come out of the Uzzi. Like it's just been used. And I made a rainbow colored because, why not? I think white looked a little basic. And I made it fade away as well. The small subtle effects makes everything, trust me. And I started to put the straw on the head because I also thought about it. Put a little cash shadow because it's very important. Obviously it makes a shadow. So don't forget stuff like that. And just going around and focusing on very small details that I might have missed. Here. I think I wanted to blur certain parts as well. You can't really see it that well because I don't like to put to partial bubbler. But if you do look at the finished product in my Instagram than you can definitely see there's some blur. This can bring out some depth. What's going to blur the right late, but I think that was a bit too much. Also put some AO underneath the feet. Very subtle but makes a difference. Put a little multiplied for blush on the cheeks. So during this part, this is pretty much just putting in small details you might have missed. It's very important to just look back and say to yourself, is this finished? Being a perfectionist? This is not finished. Its, everything's never finished. But you got to learn to let go of that stuff and just kind of call it a day. If it looks good and do you think people will like it, then go ahead and post it. Don't focus on whether people like it or not, but if it's good enough, then you put it up and you'd be happy about it and you shut up. That's what I've taught myself. You just put it up. Don't focus on that. Just put it up here, just put some hearts because I was kinda worried about it looking too empty. 20. Final Look and Brief Clip 19: But this is the end of the tutorial and this is the finished product. If you guys have any questions you can reach me on here. You can reach me on Instagram and I'll try to answer your questions to the best of my ability. So if you want to participate in the project that I've given you all, I would love to see some stuff from you guys. It's very small. It's focused. I tried to make my projects focused. I'm not gonna make you do a whole character in a day or something like that. I'm just going to try to put in certain techniques that I think you guys should try out and practice. That's pretty much what I want. So thank you guys again. I'll see you in the next course. And I hope you guys learned something from this particular course. You all have a great day and keep on drawing.