All right so let's get into drawing this thing.
We're going to start out by keeping things really loose and we're going to build it up by using layers.
OK.
This is the technique and the process that I take for most of my drawings and I think it's the best
way because it helps you be able to not get to GDL too fast and to be able to make a lot of changes
as you go.
We're going to start out by just roughing out the basic overall shapes of this guy's body.
OK.
So with his torso here came his stomach as well almost making like this bean shape.
Can I just tell this whole thing as well.
But you could see this really loose stage that it's really easy for me to change stuff with the selection.
Well like we talked about earlier because I'm not super detailed or attached to anything yet.
So let's get this leg in here.
I want to tilt it out a little bit more facing some more.
And then this one can come out here and come back to the rest of legs later lips work in really quick.
I'm just going to go.
OK.
Let's come over here and work on his shoulders and head area.
This is where his head is going to come out at.
We're going to put his shoulders here.
Looking good so far.
And I think I need to try moving this all over a little bit
make this a little bigger as well as his chest area.
I know right now it looks really messy that's what we want right now OK.
Supposed to look like that and this will be good for us later on.
So let's get his head in here.
Let's do the other arm first Actually let's do.
How do we want his staff to be.
He could be kind of laying over his leg like this and he's holding it kind of like that
or we could have it he's holding it here like this and it's on the ground his head back like that.
I think we should do that.
So we're not going to go super detailed with his staff or whatever that is right now because we don't
need to yet.
But I'm going to move his arm and staff just a little bit to get it in the right position more and make
sure it's the right size
.
All right.
Let's get his head in here and for his head.
We're going to start working on our shoulders here.
Get distracted by a part that I see.
And I want to fix and then I had to fix it really quick.
All right.
So I actually want to do is the first idea is had very last come in to do our separate layer so that
we can kind of change it around if we want to.
So there is one foot in this here.
Now the way that I'm able to kind of accurately draw these sort of forms and shapes.
Louisiana's body is because I've done quite a bit of studying of anatomy which is why it's important
like I said to do studies from life so that your art can look realistic.
So if you feel like you're having a hard time getting your stuff to look believable then maybe you should
you know take a break and try studying some anatomy or some actual stuff from life
that can help me come back to the tale.
Let's work on the head.
I'm going to resize all of this or just move it down a little bit more room for his head and
for his head I'm going to make a new layer so that we can kind of switch back and forth between different
layers to get the one we want.
OK.
So I know that I wanted to be him to be sort of reptilian so I am going to try and stick with that.
I'm going to learn this layer a passage below it for a minute so we can see we are doing better for
the lines we have going on.
I want I know I want like a big long mouth almost like crocodilian and I am imagining and under by the
sky.
So
so there is one possible idea but I'm not really crazy about it.
Keep sketching in coming up with some more ideas I'm going to move this up a little bit.
I kind of like it more Actually if we can move it into a better better angle maybe see it doesn't look
terrible.
You have to kind of work the neck muscles and more kind of like that.
You just do another one but do one where he's kind of like looking up my rough volumes my face for the
school the head a little longer actually yeah I really like that pose.
We're going to keep going though some more.
Keep doing this lines you want till you find one that you really like.
I like it better why I'd like that.
I think I really like this one we might go with this one.
We'll see.
Tighten it up a little more.
I want to lengthen the back of his head a little bit more and bring his job back right.
I think I like that one the most between these two.
I like that pose and everything.
So I think this is the one we're going to go with.
So let's turn this layer back up all the way.
We can delete these ones because we're not going to use them anymore.
And I'm going to resize this just so it feels a little bit more in place and a little bit more of the
right size.
We're going to widen it just a little bit too.
I like that really wide flat look and we can put it pretty low actually kind of like that.
Like he's a little bit more hunched.
Right.
Or we could keep it up here.
This makes him look a little bit more proud and alert and this makes him look more predatory.
I like this one it makes him look a little bit more menacing.
So he's going to clean up a little bit more of his neck here so that fits more.
All right.
That looks a little better.
So I can go ahead and merge these two layers together.
I should mention this part way through me feel like this course pro-create for the release so the user
interface might look a little bit different but all the tools are still the same.
I'm not going to be using anything super new or different if I do I'll be sure to explain it but just
know that the user faces a little bit different it's not that big a deal.
Everything's still the same tools it just might be a little bit different place so that's why it might
look different.
So.
All right.
So I made a new layer here I've learned the Apache if this layer down pretty low.
And on this new layer is when I'm going to start refining a little bit more.
Right.
I'm going to start tightening up some of this looseness.
OK.
And so as I go I might go back and forth between these layers and kind of adjust some of the stuff underneath
is a lasso tool which actually you know I'm going to do that really quick.
First before we start because I already see some stuff that I kind of want to move around.
So his arm for example kind of want to adjust that will tilt it out a little more maybe see what this
looks like a straight this.
This is like down.
I think that might look cooler.
Yeah I think I like that better.
Yeah I like that.
And we're going to put him over here like this so we can see his whole weapon.
And then he forgot this too.
Before we go into next there let's do a tail.
Let's work in some kind of detail that we want to do or decide if we want to do one at all.
And I had this idea for kind of like almost like a Stumptail I give you maybe make a ceremony.
He'd cut it off it was like part of an initiation or like a sacrifice or some sort of ritual he did
summon something or get his powers or maybe that's why he's so big and so it just is kind of like a
stump and maybe he has like some spikes on the end of it but I really like that look we can add some
horns and other stuff in the next layer.
So we're on a new low now and we're going to start tightening this up a little bit.
We're still not going all the way full.
We'll keep that for the last layer but we are going to start refining a little bit more in kind of working
in where we know we're going to want some stuff.
All right.
Good start with his head.
And this is really the point where I need to start making some decisions some final decisions about
where I want things placed in stuff like that.
So I'm still going to be using some draw through techniques however and centralize and stuff like that
because this isn't quite our final air yet but we're getting there.
Right.
This is where we're going to start tightening things up.
So we're start here right on his nose.
And work on just lining up the symmetry of everything making sure everything is correctly in place.
The perspective's right.
I might add a few a few details here and there like for example I think maybe I want him to have some
sort of protrusion on his chin.
I think that would look cool.
Can I come down here to his face I'm working in some of these teeth here.
I really get that crocodilian feel going like that covering his eyes in here.
And it's better his eyes.
And then we'll bring this line down around his neck.
Let's get some more work done on his eye here.
I'm also going to be adding just a few little horn details here going on as I am some scale ideas maybe
going down his nose and we might have to come back and add this in later once we do the final details.
Getting a little bit too detailed for this point actually.
I'm going to pull that back a little bit.
But we can come over here and work on his eye and we want him to feel like he is pretty huge.
Ray I want this guy to be giant maybe 20 30 feet tall.
And so one way to do that is when you have something really large the eyes of that thing tend to be
pretty small compared to the rest of their body.
So all the i-Bod cells might be really big compared to the size of everything else on the creature.
It's actually kind of looks small.
Right.
It was on whales or elephants and stuff like that.
I was on a well like really tiny compared to the eyes on a rabbit or a puppy something that's really
small can work on his jaw a little more time in some of these shapes.
And then I flatten out the back of his head a little bit and then figure his neck a little better here
it's got all these wrinkly flaps of loose skin that come under his neck.
And those are going to connect down in here.
OK.
Got that.
Let's work on his shoulders now.
Really want his muscles.
I said I want to go with more of a muscular look.
So I'm really going to emphasize some of these curves and angles a little more like his shoulder
.
And then here's where we can where we can kind of get that belly in here that look that I like is good.
His arms in here and while we're doing that we're also going to be working on this other side as well.
And something I just notice I go back and forth a lot and that's kind of a good thing because you don't
want to get too super detail on one spot only to have to go back later and gives the producer don't
want to buy and then have the whole thing not be rendered equally.
Right.
Well look unbalanced if one super detailed because sometimes that will happen is you'll get kind of
burnt out towards the end and so will make it so that the beginning parts have a lot more detail than
the parts of the very end which is not where you want want to or kind of look the same.
So over here now on his shoulder and going to put in his deltoid muscle.
OK.
And then that will be followed by his biceps here.
Now I'm pretty much defining the entire muscle on each of these.
But when I do the final leg you won't be able to see all of this right.
I'm just doing this so that I can have a better idea of where all the volumes lie came to his guess
we can move on to his forearm now.
Now this is perfectly anatomically correct.
I mean but one first off this isn't even a rock creature right.
So it's not going to be perfect.
Right.
That's not the point right.
I'm not trying to do this is just a sketch.
This is an unfinished drawing where I'm trying to make is absolutely positively perfect in every way.
But I do want to have enough information stored up in my kind of like my mental library to know that
I'm placing stuff in the right spot.
So yeah some of this might not be perfectly lined up with where those muscles would actually be in real
life but they're close enough that I can get a pretty accurate representation of what it is I'm trying
to convey.
All right.
So I'm down here.
Point of his system there hand might be a little too long and might need you to fix that.
In fact yeah let's do that.
Going to make his forearm longer.
And then we can shorten the knuckles part of his hand which is not so extreme though do for his hand
for now probably come back here in the final final round and really make sure we get all this tightened
up and the way we want it.
So we're going to tighten up some of this line work here that I got a little messy and things around
and then going to come over here we're going to work on his his leg to get his tail in here.
All right.
Connect that belly lying there belly button still has a belly button it it makes him look almost too
cute.
He looks more.
I don't know why he looks more like a bad guy with no belly button so we can put a belly button.
But we're going to work on his back foot now and move all this over just redraw.
Actually some tendons I don't like that are kind of lining up there that I want to move over rework
just a little bit.
It kind of doesn't.
Yeah we're going to need to redraw that because you could see the way his leg is angled that his foot
isn't lining up with it looks like he has a twisted or broken angle see I make sure that you're thinking
about your perspective and everything.
So we're just going to pretty much be straight on like his leg is then trying to find a way that it
looks good.
All right.
So I guess we're going to have to go with that for now.
Mike come back later and touch up or change a little bit but for now that would work months do his other
leg
trying to remember where some of this stuff should be placed based off of my same anatomy.
And honestly it's not really glamorous or amazing but one of the biggest tips I can give to someone
who's a beginning artist fishermen becomes a drawing is to just think about what you're drawing.
Sounds super obvious and kind of you know cliche I guess but it really is true.
So many people they just don't take the time to think.
They just rush and they go with their first decision and then they just kind of run with it and they
keep going they don't really take the time to stop and be like was this right you know is this actually
where this would be placed.
Does this need to be bigger or smaller.
Right.
If you can take a moment just use them you know sort of basic logical thinking about what you understand
of space and perspective.
Then it's it's pretty easy.
I mean it's not easy it takes work but it's less intimidating or difficult I guess to get things placed
where you want them and where you're picturing them being placed in your head.
And the other toe is going to be on the other side like that.
We have that from there.
And then now we just have all that's left really is his arm.
And then any sort of other will do some Gitanes tails and then any sort of other horns or features that
we might want to add.
So is this hand drawn in here.
Croteau we need to move that down a little bit.
Give him an actual rest.
Shrink it down.
Go.
Might end up having to get some reference for his hand here.
I can't get it kind of having a hard time.
All right.
So once again we're going to break this down the shapes.
It's going to make it easier for us so this is going to be a cylinder right.
We know that's a cylinder.
We know that the end of the hand is going to be right about there.
Give or take.
OK.
And then from there it's going to be attached to basically a box.
OK.
So strong that box that's going to make it a lot easier for us to put in the rest of this.
Have this box here we know that the weapon is going to be going through like this.
And so that means that system is going to come around like this.
Yeah.
That was where I was drawing it completely wrong.
So you were breaking out the forms can do for you.
It's amazing
OK so that means his fingers are going to be like this
.
It's pretty messy right now but that's OK because in our final letter we can clean it up more.
And I'm just going to take all of it and move it down give him more of an actual arrest because the
other guy has pretty pretty long hands.
He has an actual wrists.
And then let's break that up a little bit to say actually has a bend to it.
That will help us to find that there is a risk there.
OK.
That looks better.
And then let's work on some sort of a weapon for him in some really quick spike in horn ideas as well
as you tell the tale really quick.
And then we can add this weapon here.
I don't know if it's actually a weapon or if it's more of like a basically like a staff train staff.
Look I'm going to make a new layer so that I can go back and change things as I go if I don't think
there's going to be like a fear right here and that the staff is going to be kind of holding this fear
in place.
It's not too bad.
It looks kind of cool.
My need to rework the shapes of it a little bit but it's kind of working for me.
I like that.
Something similar to that.
OK.
So there's one possible idea.
And then we can we find that in our final couple of layers when we release are going in deep.
But let's do some sort of like feather head dress or maybe it's just like his actual head sort of thing.
I think that looks pretty cool.
I'm sure I'll have some bracelets and spikes and stuff like that.
But we're going to do that in our last couple of layers so we're going to call this good for our rough
layers.
And I'll see you guys in the next lecture.