An hour I just start adding our refining layers our final layers so I'm going to make a new layer on
top of everything else I'm going to lower our previous layer of the opacity down quite a bit to around
20 percent.
And on this layer when we suddenly find things are working in some details and experiment with some
things I might like.
So for example I'm thinking I want them to have a little bit of a tribal feel so I'm going to put like
a kind of like a piercing or something going through his nose.
I was thinking about maybe some necklaces he has hanging down that he perhaps wears and thinking there
would probably be maybe.
What if there's like a string hanging between these.
I think that kind of actually looks pretty cool.
I have to get that right though.
What about hoops.
No I like that.
I'm thinking these are going to have like causer feathers or something on them.
But see.
Let's do probably have some bracelets or something on his on his forearms of some sort.
So maybe it's like on his forearms like these feather bracers.
He has that look I like that.
Let's instead just go with him maybe that's just do something like this where it kind of wraps around
to his staff.
Let's rework that staff.
I decided that I actually had this cool idea for kind of like this big blade type thing going on on
the end that I wanted to incorporate instead of what we had before
and just kind of draw the handle down here.
And this is going to be I'm thinking this will be like super intricate.
OK.
Like it's going to have a bunch of markings in here maybe like some holes cut into it.
Right.
So you could you would be able to see through the other side.
Something like this and then maybe like a few little knocks and the blade itself and then this would
have a bit of a wrap on it with some sort of dangly.
OK.
And these I'm thinking will be will be like some sort of piece of braiding.
And we could have like a little school pretty small have to really refine in our finer layer after this
one but pack it in right now so he's got this little skull hanging off the end of his his big weapon
here then.
So we have that do we want something on both arms or just one.
About on this other arm we put like some bracelet type things for his tail.
Wondering how it might look to put spikes on this like that.
I think that looks pretty cool actually.
And then anything else could probably add some markings but I don't know if I will add them a sketch
that might be something I might add when I'm painting it later is kind of like war paint sort of stuff
like that.
But what we can add if we are going to add anything else would be maybe like if we're going to add some
worms we could add those.
Now that is something that I might like.
I think that looks really cool actually.
But this other one we wanted to make sure we're getting it right in perspective.
We wanted to be facing more backwards or more out at an angle.
I think something like that looks good and then we can have all these feathers on his head coming down
and just finding that little bit more there.
And I think that looks about good and so we can go ahead and lower the opacity on this and lower the
layer beneath it even more a little bit.
And when you make a new layer and this one is probably going to be our final layer.
I'm going to try and make this one the last one and this is going to be where we really start to go
in and tighten stuff up right make.
This is this is the end of the sketch basically where if we want to present it this is the point we
would present it at.
So all the lines we're going to try and make pretty clean.
It's not going to need to be perfect right.
It's not like a fully rendered drawing we're not going through and really adding any sort of necessarily
shading or anything like that.
But we do want it to be very easily readable.
And you know to do that I'm actually sort of going to lower my brush size so I can get a little bit
tighter with some of the shapes I'm doing here.
Really paying attention to stroke weight as well as lying.
Do you know how smooth my curves are making sure that everything is in a perfect spot.
So if that means tightening up some of the perspective as we go and I have them have a little bit of
like a crooked tooth here give them a little bit more character and bring his chin.
Teeth here we try to make sure I keep things looking consistent like they kind of belong and make sense.
Right.
I can see how a lot of my outlie outside lines are a little bit darker.
Right.
Music that line way to my advantage while some of the inside ones I keep a little bit more light and
thin to suggest some sort of detail work going on.
Going to work in a little bit of wrinkles and stuff going on in here and a little bit of scales on his
jaw going to work his horn in the base of it were there at the base.
Then work some of these little tiny horns on his eyebrow in the male closer so we could see better.
All right.
And we can decide what Stu is.
I
said oh let's draw this horn here.
Well actually before we do that I'm just going to a little bit of a line way over here to this ice so
that it feels a little bit further back in space really get the sense that it's kind of been pushed
back there had a few scales on his cheek here or and his eye area will do some of those little spines
on this side of it.
Josh going over there.
OK good.
Let's get his horn in here now.
The great thing about working digitally is that you can just turn the canvas to whatever angle works
best for you.
You can do the same thing with a piece of paper you just turn the whole paper.
But if you're working on something really big you can usually do that but with this you can just kind
of scale everything down and told it to whatever your preference is you want to make sure we get the
perfect line there.
I like that.
OK.
Let's get this other Hornback here.
Well most of it's going to be covered up by feathers or the stuff on his head.
So bottom line yet we're going to add a few more details here to his face.
And I want to look a little bit more snaggletooth than he already does.
So he's going to add a few extra teeth kind of like grown through his gums a little bit and then a little
bit of scaly texture going on on top of his head and his nose will do.
See if we can pull off these.
Sort of like a play scale play on his head some skills down here and his nose.
All right.
So must start working on these feathers now that are going to be coming out of their spines.
Not super clear on what they are but that's OK and kind of leave that up to the imagination for the
viewer to decide what they are.
All right before we do that though if we get too far in anyways.
Want to bring a little bit of overlap in there.
Then we're going to make sure that we get his neck drawn in here.
Are they trying to make sure we get these.
Feeling like they're kind of going back in space like they have some depth to them.
His collarbones.
Excellent.
Let's move on to the shoulder area.
The face is probably one of the hardest parts I think personally just requires a lot of detail and attention
because that's where people are going to look.
So I think we can make the rest of this go by a little quicker.
Make it a little cleaner.
We're going to draw his bicep here.
Then we're going to come back in and add the scales towards the end that we're going to put on the rest
of his body.
You said some of this jewelry so that we don't have to worry about drawing going back and erasing a
bunch of overlapping stuff.
We'll have it come down and we need to make sure we draw the other side of his feathers to coming down
on the other side of his head as well.
You know before I forget I just notices we need to rework some of these feathers that they have a little
bit more dimension so we can see a few more that are going back in the other direction.
Right now we're all kind of going one way.
Doesn't quite feel like it makes a lot of sense.
So that's better than we can have some coming down on this side and it actually makes sense as to why
they're there.
All right so we got that Nicholas lobes do two of them.
And on the smaller one I'm going to put them in a pert like some block type shapes squares.
And then on this one it will be the I guess or either I don't know spikes or like rib bones or something.
I can go in in the race.
So we have that necklace in there.
Keep working on the details here.
We have these mussels that are coming down from back on his side.
We have his actual stomach that is kind of pretty close to these lines from the necklace.
Looks good.
We have his leg looks through his tail actually.
We're going to put some sort of just making it around.
We're just going to put some time scales though.
We'll do that last skells like this on the way how.
The way I know how to kind of just draw the scales in my head so they look somewhat realistic or they
look like kind of like they could exist is because I've done a lot of studies I've looked at a lot of
pictures of you know lizards and snakes and reptiles and stuff like that.
And so it just takes practice you know.
That's why I say you got to draw from life if you really want to draw well out of your imagination because
that's where this kind of sense of believability comes from is from dry out of life.
And then we'll put spikes on each of these ones going down and then kind of just some of these skin
folds that we see here along the bottom and let's do his stump of a tail here at the end of these bikes
that are coming off of it.
Let's go in here and clean that up.
I want you to imagine what it would have been like if I had just started drawing this without you know
doing all these layers taking a moment to think about what I was drawing.
It really would not have turned out great.
Right.
If I would have just gone straight into this layer and tried to dry everything the first time around
and nail everything down in place it wouldn't have turned out very good right.
I would have gone way too committed to bad decisions that I didn't want to go back and change.
And I wondered if I would have ended up being stuck with them and keeping it even though it wasn't the
best option.
Right.
But because we did all these layers we took a second to think about what it was we wanted to draw.
We were able to come up with something way cooler way better than what we probably would have come up
with otherwise.
Right.
So that's why it's important to do this now.
Your assignment for this one is going to be to do the same thing right.
You guys are going to dry your own object out of your head.
And I want you to build it up using layers.
You need to do at least I think at least four layers let's say three at least three.
Ok so like a beginning layer or refinement layer and then your final layer.
OK.
In order to call this one good so do three layers and draw something out of your imagination.
OK.
And the next lectures we're going to go over some other exercises you can do to kind of help brainstorm
some ideas.
But I want you for this one to just come up with something straight out of your brain.
That's all you can
.
So that's your assignment for this one.
Do the same steps I did draw something different obviously right.
Draw your own take on whatever it is you're going to you're going to draw.
But I want you to do the same thing right.
Come up with an idea.
Take a moment to think about what it is you want to draw then.
Then think about kind of what the poses are going to be what it is or how the composition is going to
be if it's an object to think about are you just going to draw it.
Floating in space is going to be sitting on something.
Is someone going to be using it.
OK.
So think about that.
Or if it's a landscape how are you going to orient it.
And here's your rough layers like we did here rough layers to a couple of those to really figure out
where it is.
Things are going to go and then your finer layers.
Right.