All language subtitles for How To Stylize Characters_Kenneth Anderson_ENG_21 DRAW

Realization

Hello and welcome to this course on sterilization

I Kenny a felons talk to the diner and illustrator working mainly in children's television production and publishing as a character designer

I'm off in acquired to work in different styles depending on the nature of a particular project some projects maybe end preschoolers for others are for older kids

Some might even be for today or others are for 3D

These different variables often infants to style after designer

Together we're going to explore what style is what it means to play style to a design and then choose a single character to design into very different styles

We will follow basic design process comparing the developing characters as we go

Starting with rough sketches will explore key design principles such as proportion Silhouettes and use of shape while making design choices suitable

Which character Style

Well then progress the successful ideas from these into some refined Concepts

It's our taxes down into single clear idea

Finally we'll progress these ideas into finish concept piece for each Style

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For this tutorial I've chosen the character of Frankenstein's monster I'll just call him Frankenstein from now on

Hopefully most of you will be familiar with food frankensteinas and I'm going to be drawing heavily on the classic Frankenstein aesthetic inspired by Boris karloff's portrayal

In the 1931 film Frankenstein as this version of Frankenstein's monster has become a classic important culture

I want you to count to concept that was well known and already established so I could focus purely on the stabilization side design

I don't answer invent the wheel or completely original state with those kinds of here my goal is simply just to design Frankenstein into very different styles and see how

Play personalized

If you're drawing along with the tutorial at the end of every section there will be a task for you to do these tasks will relate to the videos engage you through the same process

Okay so for this tutorial you will need something to draw on

That's something to draw with

I'll be working digitally in Photoshop and using a Senti 22 however you can use anything you want a pencil and paper and iPad and procreate

Or any other drawing program that you're comfortable with

Maybe some tools I brushes I use here which are specific to my own setup and Photoshop but the overall design process and application of style is not dependent on techno

Software or Hardware

Brush his wise I don't use anything particularly fancy

And all my brushes are available are easily created within Photoshop let's quickly go for what I use and what for

Heartland brush this is a standard Photoshop brush which I use mainly for doing line art but also for blocking in color

The soft rain brush is another default Photoshop brush which I use speed only for creating soft lighting effects or smoothing a transitions of

Chunky charcoal so if you're so fresh for years as a really nice grainy texture to it which I love

It's a county Webster brush and it should still be available within four shop I tend to use it with a pasta and size pressure on and

Music for the bulk of my digital painting process

Chunky charcoal flat is just the same chunky charcoal brush from before but I basically flattened it within the brush settings to get more of a thick and thin

I like to use a flat version of the brush for my sketching process

Paso medium tip is another default Photoshop brush which is mainly for color blocking but it's also 100 texture to backgrounds

I think it's just a default Hardline brush which again I flattened I use this in my schedule sometimes a darker or thicker thin lines it's great

Just form and shadows within my link

So that's it I'm not using anything fancy here I like to keep my brushes simple and uncomplicated so I can just purely focus on design

Okay before we get started I want to give you your first assignment and that's to choose a character to draw on two very different

Feel free to choose Frankenstein or maybe another established famous character such as Dracula maybe Charlotte

Alternatively you could always use a character of your own but try and choose something with an established story so we can focus purely on sterilization moving forward

When it comes to illustration and character design what do we mean by Style

I consider style to be a consistent set of design choices within a character or a piece of work

These choices may be conscious and planned out carefully determined by an art director or someone similar

And also by the needs and limitations of a project I'll talk a bit more about this later

Are these choices could be unconscious in the sense that different artists draw in the wrong way not necessarily making design decisions as

How to draw Percy but drawing within the one particular drawing habits

How to create these drawing habits to design choices whether they're developed over time and purpose or by accident

Design choices me relate to angular characters are soft and rounded they are or maybe how simplified or complex they might be

I could delete my push the proportions are or if the cactus design defies the normal laws of anatomy let's look at an example

Do you have drawn the same character in two very different styles

The one the last is quite simple almost graphic and flat and stale was that much feeling of volume

It was a bit silly and quirky

I don't really be out of place in our chemical to the animation

It's real hard angles in Geometry it's Anatomy being suggested a simple clear shapes

Uses outlines to describe the forms and the texture on this code is flat and very simplified

Depression on the right is much more complex with more realistic Anatomy though still with an element of simplification

Though again simplified

I don't know so it feels like a character designed for 3D animated film or game

Because often more serious fight though that said there's still something a bit quirky and unthreat in the room

The design choices going on in each of these characters are consistent within them

But these two Styles wouldn't fit together in the same film or project

They each feel like I have particular story or medium where they would want most effectively

Different design choices to one part of each character

You can see my consistency is an important element of style

This is Extreme example but it now isn't clear what intended style was for each character or we respective belongs it's confusing about design

Ultimately I see you stabilization as a form of abstraction of reality

Subtraction is just a process of reimagining the natural world in an expressive way

In other words making design decisions about how to represent the natural world which says something unique or expresses something different to that reality

Let's look at an example

So here I represented an apple and various ways

They'll say apple but they are very different styles and they'll convey something a bit different

So we can go super abstract or super realistic and also create variables in between

You can use lines or no lines we can make it super simplistic or render the Farms with light and color

The list of things we can play with is endless and the variability of style comes from playing with all these ideas and more

Have you choose to represent this apple is what forms at Style

Of course we can play the same ideas to Cactus too

Again the choices we make and hurts abstract and represent reality in this case I go with the phone

Ultimately determines to stay with the character

She wants to be annoyed that realize himself for example represent reality exactly as it be a style as well

When it comes to designing characters for a particular purpose steel is

Never an arbitrary choice

The sound of a character must be fit for purpose

Sorry about this purpose as the context of a design

I got to say I must be context specific

Answer the contacts include such things as the medium

So it was a character being designed for is that too deep purple animation a Next Generation 3D console game or maybe even a children's book

Beach medium has its own technical restraints regarding what's able to be achieved with budget wise and medium-wise

Take for example a low budget TV show it probably won't have the budget to invest in high-end feature quality 3D characteristics

All about mobile phone game

It won't be able to compete with the latest gaming consoles in terms of computing power and so when it was achievable stylistically

The target audience of a character will also affect the desired Style

As a general rule of thumb I'd say the younger the audience the more simplified colorful and playful to count to design should be

Build an audience the more realism and Dr design choices can be used

Because I have turned so does this contact exist in a silly Whimsical world

Was that serious one

Are you going to comedy show or an action adventure movie

It is our total affection style so I sell a goofy characters for example

Finally story

Can I talk about story here I want my friend to is the world of the character so is it fancy reality past present or future

Also who the character is and what role to play Within this world so are the young old what's a cultural background the character type or even their occupation

Somebody else includes the goals and desires and events that happen to them and of course the personality

The target audience and ultimately the right style to designer

When I look at a couple of simple examples to help convey these ideas

With preschool audience in mind for an imaginary 2D animated TV show personality is friendly and not

All the design choices which make up a stay over this character along with the characters context and a mid-consciously

The shape shoes are soft round and unthreatening perfect for the characters intended on audience and the proportions also help you with the big eyes and the big

I've been telling

The colors are bright and happy and the design is simple and letting it to be easily animated

Phone without his paws and expression reinforces the personality

This cartoon was the same with an older audience for an imaginary 3D console game

Wisconsin's antagonistic and likely an enemy in the game

So we can just see the difference in style between this and the previous character

The Triangular shapes and more angular design choices are more suited to character for an older audience and also have convenient status in the game

They're designed for 3D medium so the final style is less flat with more rendered forms and Lighting

I got this poison expression also help confirm antagonistic personality

Hopefully the point I'm trying to make it as clear

The design choice is used for each of these characters are grounded in their context and these informed design choices ultimately Define their Style

As a character designer it's important to know the design limitations of a particular project before designing

This is what style guy comes in useful

She wants to tailgate it's basically the design rules which established in the beginning of a project

Technical context on the story

I could come in the form of written artificial age document outlining the design tools and donuts with visual examples

Any characters within that project will need to fit within those stylistic boundaries

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Let's go back to my first Contact example from before I think about what key design rules might have influenced this design

Rented simple shapes

Childlike proportions

Simple vibrant colors

Flat graphic approach

The old black Islands

Never mind there's working on in the style and just these simple design rules and working within these limitations still leave room for lots of interpretation and subjectivity

Vicky things take away these ideas pretty much some of the style of this particular character and could be used to retroactively build a stalegate for them

Do you make a good starting point for steering a design in the right direction for this particular context

So that wasn't mind let's move on and create some simple style gates I can use for my two Frankenstein characters

For my first time I want Chris said the same rules fitting for a

To the animated TV show

It should be in the kids but not preschoolers so I'm thinking of around ages 5 to 9:00

I want the special Frankenstein to take some personalities from Horticulture so should be kind of lumbering and tell like

But then also without some comical and silly Vapes into there imagine him as a slapstick character

I'm also imagining this cartoon needs to be simple enough to animate with lower TV animation budgets

The most modern TV animation is made of 2D character puppets so I'm going to design that roughly in mind

I mean snow reference points would be shows like Gravity Falls SpongeBob SquarePants and even The Simpsons

It's important clarify here I don't mean to design these sounds

But I've got some advice I want to achieve with this character based on his imagine purpose

Phone established I can start thinking about what design choices would be appropriate for this character Style

I want to aim for how you stalisation and move away from 100% accurate and that's me

This isn't the same what's ignore not me all together but we can ignore anatomical details and keep the arms and legs like simple troops for example

I want to bring a bit of graphic feel to the style with strong Silhouettes and clear use of s***

Angular combined with plenty of carbs does not be threatening

Let's start with the monster is not really meant to scare children

I want this proportions of the stuff they don't need to conform to normal human proportions

So it can be fun and exaggerate to help that comical tone

I was going to start the top outlines and flat colors

That's what well for to the animation and I'll convey the tool and I'm going for

So they start to design this version of Frankenstein I want to keep all these points in mind to help guide my design choices

For my second style I'm in for a set design rules fitting for a 3D anim

To feature phone

For the special Frankenstein I want this personality more on Mary Shelley's original depiction of them so more sensitive emotional and a bit misunderstood

Wisconsin will still be suitable for kids but should accommodate an older onions too

I don't have a better comedic tone for the style however the focus will be on the drama in the action

Essentially more serious than the previous day but not too serious

Established reflect the fact that the character will be for 3D animation with the capacity for complex and neurons can't animation especially in the face and hands

Star Wars I'm thinking along complexity and stabilization of How to Train Your Dragon and zootopia

Again I don't want to copy these sales but they're a good reference point in terms of complexity and tour

It's always in mind can I stop thinking about what the same choices would be appropriate for this version of Frankenstein

Medium sterilization I want some complexity in the designs but still some cool stylization so I need to find that balance between realism and simplification

I still want to aim for Clean and Clear design it should be super abstract but playing with a push and shapes is okay I don't want the shapes convey an idea of this Russian Frank

Thinking large and Powerful potentially threatening but without vulnerability as well

I want this proportions but not to the extreme this now should feel like it's not the real world but it's in an element of being believable

You're not making me more realistic in the previous Style

But it should be exaggerating and simplifies an extent

Again I'll keep the tailgating mines I start the design my second version of Frankenstein

All right test too so taking account to an idea from Task 1 won't come up with two very different

Styles to tournament so try to think about what context they make fit if they're being designed for say 2D or three maybe a TV show or something else entirely

Put your Styles and some basic design rules which fit each contact

Okay let's start schedule ideas for my first frankenste

Remember I'm not trying to reinvent the wheel with this Frankenstein character

Nicole is just to design them in a highly stylized way

I should note that don't drive as fast as in this video

Just so we don't spend all day watching these videos

Awesome for a simplified graphic style here

I decided to stop playing with basic shapes and silhouettes

First Washington

So working like this forces me to think more abstractly and not really get lost in all that detail

I'm usually squares come to mind there's a good shape language for a Frankenstein character it is lumbering nature and I want this Frankenstein value to come through

Silhouette salon

I used to work tool in the arms and legs to create bends

I really want to register not to me especially in the winds

Try some really simple with them almost like rubber wholesale arms

With some shapes blocked in and I start to use the hard rain brush to develop them further painting into them clarifying things or having a bit more nuance

I will start drawing with the knowledge that my first few sketches will likely be rubbish

I'm going to take me time to warm up

My solution just to move on and come back to sketches that weren't going anywhere and try to fix some later on

Am I going this initial stages to end up with a variety of different silhouettes

All of which work is a TV animation style Frankenstein

Did you quit looking for Frankenstein vibes

I'm also keeping a style guide in my head so I don't go off track

Remember to focus on streamline design exaggerated proportions on simplification

For the more I need to keep these to the animation friendly

Advice to design Justin silhouette first as I can maintain a clear design that reads well

That's what you're not details and talk later on

It can be quite restrictive with design but that's kind of the point that means I won't get lost in details to Ali and lose sight of the broad design decisions

Else means I can just Frankenstein this key features such as a classic headsh

Also want to explore here a variety of ideas quickly

I'm not invest a lot of time in dead ends

So I'm not really aiming for super finish drawings at all

I'm additional sketch I want to go home you take and push things in New Direction

Nothing squares the perfect shape for Frankenstein I want experiment and try others too

So can I try a triangular torso

Brought her shoulders

Important things to try and see what feelings different shapes can know in your design and if it's a character

Hasn't drawing these I'm really trying to push proportions

So for example I might use really long legs and a very short body

I mean a long body in short Lakes

Maybe I'll have a small head and a huge body

These contrasts are the key to creating an interesting visual design so having no contrast at all we'll just meet the design really boring

Of course I need to calibrate how much I push these things and make sure I don't put too far within the desired Style

You'll see that the first five sketches like done already different from each other but at the same time they all fit the rules of established for the style

Appropriate for their design but sometimes you won't know what works and what doesn't until you try it

I saw the jump back and forth between the sketches tweaking and adjusting things taking a break from one and moving on to delicious break so when I look back at work

Want to see issues that need fixing

In fact I was looking at father and try to make it work

Awesome drawing these I'm trying to get some classic Frankenstein poses into the next

I want this kind of social feel like a bit of a stitch together monster and I'm trying to keep some of those comical Vapes here

So they don't have to be great poses that's not really why I'm aiming for right now it's more about suggesting who the character is giving a feel for the personality

I think actor roster just standing there doing nothing aren't as effective at communicating a character's design

Another reason that I supposed to Simply so I can check they'll be animatable unable to perform

At this point I start to run up ideas of what you can explore further so I just keep going drawing something and then quickly moving on

It doesn't really matter if some of them don't really have the mark

I know my next sketch actually feel like I thought something a lot better

Do you have the whole point of quick sketches is the problem solve and try and find the best solution to character it's okay to get things wrong and try again so

So I would draw this version a couple times trying to get it right

Everyone for scale and squarishness of the Torso in this character

It takes me a few temps playing around with the arms and the hands and the legs

Eventually my last attempt I keep saying super simple essentially just adding some tubes to a large rectangle and it works a lot better

I think it capture the strong single statement that was lacking in the previous attempts

And for the style keeping things really simple is key

For this last rough after I completely different s*** just to see what happens

I just around being like silhouette just cuz it's so different from other sketches

I don't want to cheat for Frankenstein here since he's like a comical white-hearted take on the character and it might work for the style

All these basic Silhouettes in place

Can I go through them adding details and refining them so they read clearly or just generally work a bit better

So much easier to find something than just to draw something perfect off the back

At least a kiss for me

Adding the hair here really is icing on the cake for these silhouettes

They were so simple and broads that they like some visual texture or something to break up the outlines

Here it's just enough detail to make me so it's a bit more visually interesting I'm not a bit more contrast within the designs

Here's my finish Silhouettes each one is a clear statement

Those are obviously stronger than others

They generally follow the rules I sent myself for the style and provide a good foundation for drawing on top of more detail

The thing like this was perfect for this design style however isn't the only way to do it I just find easier to work and shape and silhouette first

And build it from there from trying to create something very simple and a more streamlined design

Not want to use my Silhouettes as a foundation to draw on top of

I love the hard work has already been done by this point in terms of exploring proportion shape and overall design

So this stage is about sketching in the details such as the face and hand design and the costume

I want to keep my landmarks really simple and smooth through flight the end Style on aiming for

First of all I decided to rough in some eye placements and white on these Silhouettes just to help me with the next drawing stage this will provide a quick

The reference point for hooking the face designs on to

I think I design can really affect the end style of a character so I'm thinking here to make them large close together and runs

Next I'm just a pasty of the silhouette later and create a new layer on top to sketch my Lanes onto

Is it just like tracing something on paper just watching digitally makes the process quick and easy

I just have to draw a realize my images too small for the brushes to work effectively so increase the image size to 7680 pixels by 4

820 pixels which is 4 times the size of a standard high definition screen ratio

I wasn't sure my images at least 300 DPI

I always walk to the 300 DPI to print messages if I need to

With all that place I start to draw the details on top

I mainly use my flat version of the chunky charcoal brush here as I like the results of sketching with it

Out with the previous stage I want to continue exploring of writing designs for keeping the key design choices in mind for the style

I want to avoid too much detail and streamlined my shapes and forms as much as possible

I'm thinking about bringing in those classic Frankenstein visual cues such as the stitches on his head or his neck bolts

There's also the time something about caution

I can't I don't want to reinvent the wheel with him so Riff Off the famous movie version of his costume a large over caught talking trousers

I think I'd like a shoes to be quite large and funky

Which will help with the feeling of him being quite lumbering so that's why I dance on my sketches

When it comes to my Lane work I'm aiming for simple clean lines making them either straight or nicely carved I don't want any wobbles or scratchiness in them

I just went through and design Style

I can be tricky to draw nice clean lines so basically I draw them fast and a single arm motion to get the right feel for them

You notice I draw a line if it's wrong and do it and I draw again until I get it right

If you struggle with drawing clean lines like this then for shop is a nice smooth feature and the brush things which can can help smooth out your lanes personally

Avoided my brush Strokes

And I think I'm going to get enough results just through drawing technique alone

I'll talk more about drawing smooth lanes and later videos as I take a rough into final design

I'm experiment with the faces as a goal while keeping some common ideas between them

I like the big guys and small noise combination so I stick to that and I keep the head stitches on every versions I think it's iconic for his character

I was thinking about here on the top of the cactus head s*** again iconic version frankenstead of monsters a squirish head and a straight line French which I think I might want to bring

I really want to simplify the hands in the style much like in The Simpsons or Gravity Falls

I have a drawing not realistic hands but has a bit more going on than I need here so I'm thinking about how to really simplify them down to the essence

I probably want to aim for our sausage light fingers but with some hints of real human anatomy underneath

I'm trying to bring some Harmony but also contrast into the design

You'll notice the hands and feet of similar-ended shapes which balance at the character

The contrasting nicely with the square shoulders and torso

I'm always aiming to unify my designs of these kind of choices or adding a bit of contrast ads and visual interest

Overall I like the way this particular sketch was looking as I was drawing it I feel it starts to come together it's a nice pleasing overall design no

I tried something different with the costume here

Again I'm in for variety it's always worth trying something different even if you end up scrapping it later

You'll notice the classic bolts in the neck with this character which I like but make an instant read of the silhouette quite difficult

Especially for the character's ears are of a similar size so that's what we sent to work out as I go

That's a good example of streamlining the lanes avoiding too much detail

I like not showing the thickness of the Chargers here just showing the different costume elements where they separate

The horizontal Lanes near the ankles

This is my usual drawing style so I keep finding myself in a bit sweet details of these sketches they have all bands have some creases which are complicated animation especially if

Style character

As a general rule is best to avoid details and texture points of articulation on a 2d public character so the band doesn't look weird when it comes to animation

This catch is a good example of drawing lines on top of an established silhouette

Obviously the silhouette doesn't seem much about the characters right hand just indicating is holding in front of his body so it takes a bit visualization to get hand right

So just continue drawing Lanes on top of these Silhouettes pushing the designs a bit more adding clothing and details which suggest more about who the character is

Hopefully you'll see how you draw on top of these simple rocks really helps with that and keeps me in check with the style character

One of the key things to be in mind at this point there was to try and maintain the essence of the strong Silhouettes underneath when drawing on top of them I don't want to lose sight of

Strong graphic statements or Monday the Silhouettes with extra unnecessary information

I'm trying to only have those details are genuinely needed

Fight in some cases I'm actually pushing the other line Silhouettes a bit further making them clearer or improving their contrast or proportions

It's really it's a bit of a balancing of the whole time

Can I do some last weeks to the song my previous sketches just tighten up the faces and little details here and there and they're just in the silhouette layer

The new lines on top of it

This whole process has been relatively quick and that's precisely because I did a lot of problem solving when I was just working with the Silhouettes

Are they not in some thicker black lines using my ink brush just to clarify the forms more than anything else at this stage

For long I have 10 cock sketches each different but hopefully with some Frankenstein vibes

Well that's through Visual cues pausing on the ships used

Already I can see someone working better than others and each have slightly different personalities coming through

During this process of kept the desired style in mind and the general rules of set myself

Well thinking about the goal for the style

If I get things wrong at this early stage of the process I'm set myself up badly for the next stage

Also if this was a life job and I was going to send us a client for feedback

If ignored all the design constraints then I'll be happy

So this is crucial and set myself up right for progressing into refining and finalizing a design

The next step for this character would you take my favorite and more successful bits from these sketches and combine with the three more final refined Concepts

All right so for my second version of Franken

I take a very different approach to sketching

Instead of walking in the Silhouettes first I start running scribbly Lanes

I don't want that same graphic feel the first time so I can afford to be much looser and almost illustrative and exploratory

I'm still thinking about the silhouette she doesn't draw but not in such a simplified and graphic way

I'm using my flat infection of the chunky charcoal brush here which like the sketch with which I think will keep the drawings looser and more organic

Again at the stage of the design process a lot of the key design decisions have been explored such as contrast proportion silhouette

And once again this video's been sped up about four times this week

So when this gets here things just didn't come together all that well at all so I quickly abandoned and moved on

Every sketch of your statement of some kind and this one just wasn't saying much at all so I won't waste time on a sketch that isn't working right I may come back to it so I'll leave it on the

One of my goals with the style of Frankenstein is giving a bit more depth of personality

I want to convey is vulnerable Sage will still give an impression is large and physically powerful

Directions to sister is posing Expressions so I try suppose is what feel a bit more along those lines

With her shoulders and feet pointing inwards adjusting might be feeling vulnerable

So I'm not going overboard at the posing but don't want to draw stiff lifeless characters even at this early stage

Another difference in my Approach for this version is I'm thinking more in 3D so this guy just be designed for a hype that's cool 3D film so I want to think about

Three dimensions from the start and visualize them is a 3D character from the outset so it doesn't mind I'm drawing the volumes and forms more of the character and think

Construction in 3D space

Yeah jump back to my first sketch I'm feeling more warmed up now I can see issues I can fix when I look back at previous sketch so I change the pause up and try

A bit more of a solid frame

You're not straight away than adding more than that to me being less streamlined in graphic with my approach to it I want to stay out of a nice balance of anatomical detail and simplification

Portions are also more natural realistic so they're still being pushed but they're a lot more realistic than style a

You also notice that I'm not going to look less streamlines adding more details such as creases in the fold of the costume or just thinking about his jacket has form and thickness

No back to that second sketch it did I decided to push his proportions with the longer legs and sketch at the face of it better

Don't go less extreme I still want to push proportions and contrast within the designs

I want to convey ideas and meeting with my design choices

So it becomes quickly apparent that one has overall silhouette to be quite squirish and large bushness proportions and main shapes in that direction

If you feel physically quite large and cumbersome I'd like to be quite physically hard to control

You can see me playing with s*** constructing the SketchUp was effectively a large rectangle

Electric shoulders in the tangle shape really helps make him feel solid and movable possibly even threatening which is a good Vape for a Frankenstein character

It doesn't matter if the sketches are messy so the intention with these is not to show them to someone else yet but it's a problem solve and figure out things for myself

Some of these catches me hard to read as long as you the artists can understand them that's all it matters at the stage for example I know at the sketchy lines meant as I was draw

As long as I remember long enough that can draw something to clarify the idea later that's all the miles

I got back sketch 2 again I'm still not happy with it I just hate to bring in a similar Square shoulders to him to see what happens and as soon as I do this I feel like it just

Life the designer feels like it's going somewhere and this is why something I leave probably sketches on the page because I'm not able to take them somewhere with a few key

Design decisions of experimentation

This is also why I keep jumping back and forth between sketches

I think if I move on and focus on something else for a bit that allows me to see a previous sketch with fresh eyes and hopefully I can just immediately see how to fix or improve it

With this version of Frankenstein and this is a good idea to explore heads too even at this early stage of the process that's not just to perform and emotes

More subtle ways than the previous style Justin Beam for a 3D feature rather than see the animation

That is therefore important to get right early

For the heads like always I'm aiming for variety will still fit in the requirements of a style and the character

Even going for a classic Frankenstein fight it's a lot of room for exploration I don't just want to copy the iconic or a Skylar Frankenstein rather

Do some unique with it well get a nut to

So benefit about timing these heads playing with s*** not to me messing around with the classic Frankenstein features such as the stitch together head and the

Straight hair

Even if none of these heads turn out good

Process of exploring them is useful as it's all part of problem solving a design

You'll notice that these head designs are more complex already than the first style unless comical or cartoony

I love this is done to the ice so by keeping a bit smaller and more naturally proportion the special is more suited to its purpose

Now I have some very rough Ruffs so these are not

Finally sketches by any means I wouldn't be comfortable sharing these with a client or an art director

Whoever they do Sam is another drawing for me to draw on top of more detail and clarity

For the more I love the key problem solving has been done here in terms of the shapes being used and the proportions of the character

The outside stone I have a strong Foundation to move forward with

Okay so I take these sketches and call them a very light orange and yellow using a clipping mask

I also just opacity of this layer to make it easy to draw over on a new layer on top

Again I'm using the flat and chunky charcoal brush to start refining these ideas further and I'm going to clarify the ideas and underlying roughs

I really push the snow choices of expression

This design process is actually quite similar to the first sale where I create some rough drawings and then Trace over them refining them as I go

The main difference would be that I'm not working on the top of graphic Silhouettes and I'm aiming for more detail and Nuance in my lines in this town

I'm not trying to do single clean perfect lenses before as long as these lines are clear I don't mind if they're more scratchy this time around

It's been about time in the hands of these sketches

I think they're really important feature of this character so let's explore the Luke and their feel

I'm thinking they should be solid and chunky with some realistic but stylized not to be coming through

They're also great place to get some frankenstaining Vibes going on especially like the clawing Vape here and I think maybe a good feature to having my final design

It's also worth pointing out that I'm exploring the head designs within the full body sketches too

So this can be quite effective as he did see the head working like holistically with the whole body

And I'm also drawing more detail on the sleeves and caution here

Going to sleep volume in weights and suggesting the wrap around trying

So I really want to avoid streamlining this character version like I did in the first Style

I really start to push the graphic nature of the sketch emphasizing these broad Square shoulders

Even less stylize designs and stomachographic statement and they could use a shape

The difference here is that the ships are bit more hidden within the design the skies by the detailing and the costume and you know more subtle silhouettes

One potential negative of this character would be the Long Jacket

I could create challenges for animation 3D as it needs collide with the legs and move naturally with that clipping the Couch's body so I'm always considering

Have these design choices the final Angels off the character

You may have noticed that these sketches take a bit more time to do than in the previous style so it's a lot more going on here in terms of farm and detailing especially

John's face and caution

I don't want to rush

This is the point where making the broad key design decisions which was a good foundation to move forward from

I feel like you really just comes together

I like the face and the body shape plus the feeling of the pose is working for the special Frankenstein

I also like hot pussies especially the question it feels vulnerable but also has the Frankenstein is trouble using his Anatomy properly

Which probably be the case if it was like real life that she got a monster

I was supposed to really try and nail that whole legged feel so he feels unsure or a bit shaky on his legs

Another way this process is similar to the first sales process is one of the key goals here is variety I'm exploring different options just in different ways

Just to see how it feels and something a bit different from the other sketches there's no point in five sketches of similar designs and support experiment

See what works or what doesn't

As soon as I start drawing the sketch and you I was getting somewhere with this design

It portions of the lens the body shapes in the subtle pause all spoke to me and felt right for the skeleton

I don't like the jacket just being a bit too tight and held in place with one button

Suggesting it was fine lying around somewhere and not meant for such a large learning character

Now Designs here also feel good I like the angles in them and feel like they have just enough and not to be going on for the style

The full body sketches done and move on to the heads and spend about time exploring the farther

I just said earlier spending some time here a problem solving what Frankenstein's head will look like is especially important in a character that most and performs and

So after they can consideration the fact that will likely need to talk

Make multiple complex expressions and really act with his eyes

I just want the head designs appeal to the audience

So but I mean I want to face some ideas personality it should be not too frightening

But she doesn't be too friendly looking

It's about a balancing act and takes about exploration

I do struggle but here with these heads trying to find that balance between anatomy and a nice design which does what I wanted to do

Nothing really got there to be honest

They'll felt a generic or not unified enough again no going through the process of drawing things that aren't successful that's what they stepping stone towards getting

I also helps me understand what is I don't want in my character

I do like some things about diesel like some of the shapes going on and head number two and heavy Bros almost had a nice so I can probably bring these elements into my final design

It's my almost find Ross there's a lot of variation here within a clear design direction as compared to the first thing we each get very different from

I'm happy with some of the ideas that start to match you next little to clarify these ideas a bit further I want to block it so let's

This helps out a lot of clarity to the sketches so they're more easily red

And then also start the activations and tone again just a separate the form so it's more clear and sketchy stuff become more to life

Wesley how to say that a basic Shadow pass to the sketches

I just want a simple clip to multiply later set to lower capacity

Paint on it with black

I do this for one main reason as his characters ultimately be designed for 3D

I think it's important to suggested farms and volumes of the character

So throwing in a simple Shadow pass to help describe the forms really makes me sketches clearer and immediately starts to suggest the 3D characters

The previous sound very simple shooting when this sounds much more complex with it and really start to articulate the forms of the character with hard and soft Shadows

And that's it my final rough Frank is saying sketches and I'll be

Okay let's compare the rough sketches for pool sales

I took two very different approaches to my national rough exploration of the surf Frankenstein character so looking at two stale side-by-side we can immediately see

The contrast

Cuz they lose much simpler

The ship designs a brother without some legs are almost rubber horse sale in places

Another hunt still beef is a lot more grounded in reality so more naturally proportions but much more not to be going on

I said you still get the distance away from a realistic character this one's a strong sense of stabilization

Exploring ships and pure Silhouettes first

Force me to really nail the more graphic and streamline design which is much more suitable for the context of a 2d animated TV show

Playing with the basic shapes really help me ignore details for patient proportions and contrast to more extremes

I was supposed to snow exaggerated going on

The face especially the large close together eyes were chosen with slapstick and comet in mind so yeah this kind is all about the broad character performance

I'll be starting off a lot looser drawing more scribbly Lanes building up forms of Shadow layers and generally drawing a bit more complexity

The shapes and overall Farms are bit more realistic but the same thing though still about stylization and abstraction going on I'll go finding not balance took a bit longer

A lot more subtle just want to convince approached his personality so he's like more suited to 3D animated feature

I really want this vulnerability to shine through

It's contrast with the silly take of the first though the eyes also really helped here being less graphic and more natural looking

The overall underlying process was essentially the same as we're both exploration trial and error and iteration

Any style I focused on selling idea of Frankenstein early on join upon classic designq such as his large Lumber in maths his Swedish Farm

Especially in the head in the Torso and not into some of those iconic Frankenstein poses

Who sounds also included iconic stitch together forehead and explore similar costumes and accessories such as the neck bolts in each

By watching a slightly different ways to express and Frankenstein I was able to hold the same design process explore more effectively within the limits of each style which saved me

I'm really optimize the workflow

I could have used the same way working for each but working this way force my brain to think differently and break my normal drawn habits

So I tried to design style here with my lizard sketchy method I think I have got lost in the details early on and lost some of that strong graphic shapes

On vice versa how to try designing still be with lucky ships and Silhouettes first I think I lost some of the Nuance especially in the posing and the more subtle

Thanks draw okay so take your character and start to explore your design for each style through rough sketches

Remember to keep in mind your snail gate for each character version and approach exploration accordingly so is it about to start playing with basic shapes

What is the more listening sketchy approach work best play with silhouette s*** contrast and proportion calibrating these for the different styles but

Remember to not get lost in too much detail at the stage

Okay so he's my rough sketches from the expiration phase of the sky

Immediately the same thing I like and things I don't like in these sketches

I think most of them aren't really working for me for example this first sketch feels a little messy that it's not really harmonizing it's just a bit you know

I think if he could be bigger to bounce out the design

I'm just going to disregard the sketch so don't really like what's going on here

My eyes immediately drawn to sketch number four

It's really like a silhouette and the shape is going on

It feels like I'm it's been pushed proportion wise

I like the balance of the right hands with the red chunky feet

Square shoulders at a nice contrast to the roundness and it feels comical and streamlined

I think I can try out in the head or sketch 7 and it might work I think the ears might balance well with the feet shape

Quite like the body and legs of sketch 5

However I think I prefer the more squarish and top heavy designs of 8 and 9

The rest of the sketches aren't too much for me so I set one of these two to run forward with and I was like number four maybe it was seven head

So these three statues to me feel like the best combination of the Frankenstein aesthetic

Will be straight to the 2D animation purpose in terms of Simplicity and first proportions and overall Style

Expressing here this can be a subjective decision at times and you watching this may not agree with me and my choices ideally such design choices would be

Discuss with peers or heart directions

And the way that thinks through the desired style and any specific requirements on the character

A place with my favorite part selected I copy them into new layers I just disregard the rest

Michael knows to take these and push them a lot farther

So I line up the sketches and I start to play around with them

I put on your head on top of sketch 3 and suddenly I feel the design just clicks into place

Ahead and body combination just seems to work really well

Sometimes the design process just flaws and characters start to marriage from the page really quickly

Other things does any can be a real struggle in this case this character fuel came together really quick

On this for sketch and it's push proportions of it to see how things look

Increase the size of the head and the hands and they start to feel a lot more in line with one after

I'll see how much taller forehead to emphasize it might be Frankenstein as I felt that was getting a bit lost in his design

With the taller heads that she's in both he starts to feel a lot better

Office station process involves adding more details and clarifying the ones are already there

So I feel like this cat doesn't use so I have more stitches and patches and clothing

I was at eyebrows and second sketch it's amazing how something so simple can change the look and feel of a character

The whole time I'm doing this again I'm keeping the desired style in mind

I still want these characters to be simple and almost graphic so careful not to overdraw the details right now

Nothing is time throwing some color options so I do this on a nuclear set to various blending modes just what I was going to work

I usually use multiply or color layer modes for the step but I get the best outcome visually is what's important

My computer I've got basic rule stops one key color and I work out from there

In this case it start with bluish green skin tone

Justin is right hand

Cuz I want to create some asymmetry too by making his left hand a different color

I also harmonize the top half of his head with index finger on his right hand

It's important to try and bounce it colors in the design so the design Fields unified rather than disjointed

Cuz he's a strong vibrant colors I think Grays and me too Browns are best clothing so the skin tones really pop

Also these clothing colors are again a good note to the classic Frankenstein aesthetic

From here I started my colors in the eyes and the nose

I'm careful though it's flat and vibrant as possible to set that 2D cartoon if I'm going for

Part myself outlines for the sale so stop thinking the lanes of the sketch to get fuel for this

After doing this I think the final stylist don't go a lot more clear

Next I continue to be coloring the other characters again variety is key here I may come up with a color combination I really like on the wrong character which I can always swap them

Around the next stage if I do

This time start with the jacket color cuz it's a large mass of his character it takes up most of his design so go for a Decatur Brown which is fairly neutral and I just a

Obviously I want my skin colors to really sell idea Frankenstein be made up of stitch together body parts so I'm quite happy to try on natural colors like vibrant pink

Screens even purple

Patches on the jacket how to break up the mass of that color and add some visual interest in design

For the third color scheme I returned to those greens I want to try something else for the jacket so for a dark kind of purple

If it works so I do wonder if it's vibrant enough for the 2D animation context

The good thing about this particular character is the patrons jacket is above the elbow joint

Another two characters the patches crossed the elbow which could cause problems if either of these might want to become 2D animated puppets

So it's a real thumb is best of our detail at the joints of a character as it will cause Distortion or it might make any hidden puppet joints visible

This applies mainly to 2D puppet stuff but also 3D as well

You want to avoid too much information at joints in case of distortion

Can I just spend some time refining and clarifying details adding in the second outlines

I feel so I know that they will start to really emerge and become clear

Nothing I done

This part of the design process was a lot quicker than sketching the national roughs

A lot of work and key design decision making is done in the rough stage and I've done right just creates a very strong Foundation to move forward with

I know three versions on my 2D animation Frankenstein to choose from which I'm going to do not all right

And that's number three

Again this is going to be subjective

That's the one who stands out to me personally I like the shapes and silhouette and I think it says Frankenstein and I can call me

It fits with the reference material and I think that's probably potential for a good animation performance in it

Again I also like the contrast and shapes of the nice circular forms and then the greatest torso in shoulders

Nicole knows to find you in these designs and take them from rust to more refined sketches

Imagine that I want to present these to a client or an art director so I can get feedback so they really need to be readable and show clear understandable

Statement

I don't need to spend a lot of time here but I really want to clarify the details of the face and specially the mouth and also strengthen the lines of the character too

This would really drive home intended style that I'm going for here which is important for visualizing how the final character might look

I'm still not going to report

I don't want to waste time doing final crisp clean lines

Or getting the colors perfectly painted in I'm trying to get that balance between readable and sketchy so it's not to waste time or isn't needed

Again I'm trying some different color options here I don't just want to stick with the first Columns of chosen previous step so one experiment with this final design Direction

Let's see if I can come up with something a bit stronger

I said I like the blue dreams from skin tone as they sell idea for I can say the best so I expect playing around with skin colors in that ballpark

Play the Carson comes to experimenting and seeing what looks and feels

Also I need to remind my final design style here and keep the colors very simple and flat and focus on making them work well together

Between a few saturation adjustment layer and I put it to the top of my layer stack and I said it's 100 saturation just so I can see the pure value structure

Designs with zero color and then I can find any areas of ambiguity within the value structure

For example in the first sketch the values of the colors are all very similar which makes for an unclear visual design

So there's also someone issues in other questions about fixing this by lightning or darkening areas that you could value in color balance

See this is all the class of design but also I can use this high points of contrast within the values and colors delete the viewers High

As for example sketch 3 is a high point contrast with the shark meets the jacket and this immediately draws the eye into that point

It's about tweaking I should be able to control the value structure and result in contrast to the eye is drawn to the worse the characters face

Never have it must be final concepts for Frankenstein and style a

Immediately I feel more strong to number one the colors feel balanced and harmonized you needed colors of the clothing contrast nicely with the skin tone which

Is comical and cartoony and I'm keeping with the desired Style

Novel designs working well and it feels right for fun and silly to the animated TV show

The middle version was quite well too to be honest either would work quite well

But I go for the first meal is not to the classic Frankenstein colors

Number one is

I'm still a couple things I need to address the first is the patterns left arm as I mentioned before this is a bad location for a 2d animated puppet

So I need to move it clear that elbow either

Also installing decided on the classic Frankenstein neck bolts

As a progress to the final concert after this character I might play around with that feature and see what works

Okay so he's my rocks first I'll be

So I was drawing these I start to get a feel for what was working and what wasn't

Let the bodies of sketches too and five if you're large and lumbering or slightly unnatural proportions

So they usually say Frankenstein to me

Also like a large chunky Hines and a square off shoulders

Rectangular shape suggests he's big and powerful with the Posies especially three and five contrast with that

Busy suggestion is emotional or like vulnerable site

This makes an interest in dynamic

I went to the original Mary Shelley Frankenstein

I like the Long Court number two

But why not being a s*** on me in a 3D character

I do love the caution number 5 is Treasures feel too short and his suit jacket only just about fits

It's not unless the idea of and s*** play oversized and thrown together

I really like the head design number two and three and possibly number six

I think I move forward with them

I was like the greatest top of Nine's head so I might bring that into my final Concepts

Never said she's just aren't doing that much for me you're the two generic or too boring

I feel like I had a number seven but I think you might be a bit too stylized in a bit too angular from the style

So all my favorite bits and stuff together

I don't have to sign a Frankenstein character here by Mexican body parts and stick them together it is really not lost to me all right so

And experimenting until our character and marriages from the process

As soon as I put this head on this body

I feel it's not just placed into place much like what happened in my style a account process

See I just fit for this body

I refine a little bit adding some more details such as I peoples to stop bringing this guy more to life

I like his heavy bro in the push proportion of his head it feels stalise but just the right amount for the special Frankenstein

I messing with this all I had a light to see if I can push it farther really make it work I don't know the square top and then adding it to the middle body I think it works quite well

It brings a different vibing from another sketches

With three ideas established is not to call these options so it just doesn't stay attention to one color on a character and work from there making sure everything works

So start with blue screens for the skin tone

This time around a bit more color variation within the colors

Not some reddish ones the knuckles and face to suggest Block near the surface of his skin

Because it's characters for 3D I can be a lot more nuanced and I've got more detail in the colors

Horse costume for the dark muted Brown so his head and hands really stand out on top and contrast nicely

The black shark also creates a high point contrast near the head which is good for drawing the either immediately

For this character I run with a pinky skin tone and agree I light up brown jacket I'm not going crazy with the caution colors cuz that doesn't feel like a good option for this character

Play some salt purples in the face and contrast the top part of his head with a light sickly green

I want to try something different for the last concept so I got a muted blue color for his jacket which complements his skin to a nicely

Choosing compliments and colors can really help unify a cactus color scheme so if I'm stuck with my color choices I usually stick to a simple complementary palette

But please Concepts I just played with calls until something felt right it's too much thought to hide their related to each other on a color wheel

So Instinct and going with the floor and see what looks good sometimes works

Now I decided song subtle lighting so I'm building on a simple Shadow pass from the rough stage

Depends on a new law opacity overlay

I'm using the software and brush here and a desaturated RNG yellow

I'm not really aiming for dramatic lighting

What is lighting was emphasizes the farms and the volumes of the characters

I feel disappointed establish even at the stage as the fact has been designed for 3D medium so the second suggest what they might look like in the final form the bear

And if your final tweaks can't find the heads and eyes and polishing up some Minor Details

I don't want to clarify everything at the stage

Most important thing is making the head readable and the hands are clear too just enough to be understood

The rest of the details aren't as important if your what's out in the final concept painting

All right so he's my three refined Concepts very similar to each other but the same time they're quite different from each other too so I think I can quick

We just got in the middle one as I realize the main thing I liked was his pose rather than his actual design one and three however I feel really getting somewhere

One feels more selfish or confident and more put together than three

So I only have three Fields about awkward and unsteady and that vulnerability change through his pores

I've also's clothing which is elfetting I also really like his face to say I decide to move forward with three

I'm an experiment with given in the jacket and the broader shoulders of number one

Super subjective here is to take this design shortening head about bringing the broader shoulders

I used to walk to here selecting the shoulder it is I'm just playing around with them until they feel right

What was really useful so if you're using Photoshop get back go I use a lot my process to push poses and take things aren't easily tweaked

With the Distortion transform tool

I find a blue color for this person's jacket as a quite likes how it looks another concept

At this point I have a bit of a happy accident so I started just a color with the Hue and saturation adjustment tool

The most scrubbing I land on a population which I'm usually fall in love with so it works well with the skin tone

But also brings up his design a bit and makes it feel a bit more suited to its own purpose

Verizon Grays run the risk of looking at too serious

And I still want a comical agent is designed I thought purple Works quite well

Purple also feels monster and I'm not sure why I didn't actually try earlier and then play with the treasure color to make the design really pop and harmonize with the

Next experiment with some head transplants trying to get the perfect hair for frankenste

We're knowing the realm of subtle design choices

These prices don't really affect the overall feel of the character I can still make a big difference to the final design

Also soft explore the classic Frankenstein head bolts instead of on the neck I try the forehead

Talking on the neck cuz they'll get lost in the silhouette of the body

Which might not really be an issue but I want to try them on a location where they really have an effect on the silhouette

I'm almost there with these Concepts so spend about time fiddling taking colors and using the curves adjustment to just push the contrast and values and make

Make sure everything reads really well especially in the valley structures

And then last but not least I decided to throw in some pinstripes on the purple Jack

This type of detail would be best avoided into the animation especially puppet style characters as the stripes they just went to form well at the joints

However for 3D character I think this type of thing can be bit less of an issue textures and details are much more easily achieved in 3D and I'm

About the hours I think these stripes in the jacket really finish off this design and make it sing

All right so here's my final concepts for sale B

I really love one and two I think the fourth work well

Whoever the colors into really seal the deal for me the nicely balanced and colorful will still muted

Just a little bit more comical which is why I want

Also really like a long style jacket number 4

But the l15 nature of number two's costume makes for a stronger design

For my final concept I'm going to run with number two

Again decide what to do those night bolts

I quite like I'm located on the forehead as a version 4 does that means it'll get lost in silhouette of the body however why they could be distracting if I put them

Let's see what happens is a good one

Okay let's compare my final refined concepts for each Style

Once again I followed essentially the same process for both Styles here

Those ideas into three different concepts

Each of which was they literally relevant to the character and the context

From these three variations I chose once you're fine for the cell as a final character concept for each Style

At this point I didn't do anything particularly unique freestyle

However I was careful to be mindful of the desired outcomes I do each character and continue to keep in mind the snailgates for each and draw accordingly

I continue to streamline my character and simplify any details which are crept in the rough stage

How's the pitch proportions while adding in the thicker Lane works and to get roughly how the final style would look

Experiment with simple flat colors and it should have didn't lose sight of the simple bold shape designs established in the roughs

Still be my focus was on refining the details of the face I loan for more complexity and color variation

I didn't change the poses or bodies much as the initial rafts are quite late

But this week some proportions and experimented with moving head to rent

The color I went a lot more nuanced adding some variations especially in the face and hands

At the moment these Concepts also Hawaii work

However that's just everything is any final art would be rendered as well as a 3D model

The Landmark here's listener and then place is not very visible

I hope things get forms but I think that areas on the lines were Shadows would be

In the style I always wanted to develop the shadow pass further but adding some subtle top 10 light which hence is destined for 3D

Hopefully you can see how with every past these Styles diverged further and farther from each other

Some of the differences are quite subtle but become more part of the movies into final polished artwork which is suited to the desired sales

Another have some ideas Brewing on the page it's time to evaluate your rough sketches for each character Style

Successful bets from them or the starting any ideas aren't working thinking about the context of each character and just tailgates will really help you

Try combining your favorite elements into three final rough concepts for each style and tweet the

All right it's time to make the final art for style e

First things first I need to establish a strong pause for this character

I keep the final concept on the page the reference for ships and volumes and then I start to explore pose ideas

I get these very scribbly loosen small feeling at the ideas and trying to post Wisconsin Style

How do you want exaggerate his pose and bringing that slapstick Vape I'm good for at the same time I'm making sure to block in the correct basic shapes and volumes for the character well

Everything streamlined and on Style

I also want to bring in the Frankenstein Vape so I'm thinking of some classic Frankenstein style poses with arms out in front but I'm also pushing

I really want to caricatures pose here I feel that suitable for the desired and styling context

I was supposed to keep my p**** simple with a single clear statement and not try to do too many things at once with each one

Well I'm figuring my pussies I'm always imagining a line of action running through them so Elaine of action is just a simple clear Lane which is a particular feeling

Which makes a solid foundation to be supposed I don't physically draw any lines of action here but I'm feeling them out in the sketches

And turn the body and overall poses and has some directional energy

Additionally I'm paying attention to my practice silhouette I don't want any ambiguous poses going on here so I make sure the resulting Silhouettes are clear and readable

As much as I can I keep hands arms and legs out with me most of the body just so they aren't heading

Again just like in my design rocks I'm jumping back and forth between the sketches tweaking them all as I go rather than just focusing on one at a time

This method of working really works for me I'd like to build up ideas almost simultaneously it means I can see things are fresh as I jump between sketches

How else use the warp in the store tools for necessary to push and pull these rocks to make them stronger

Have a habit of drawing posies which just aren't Dynamic enough so by using the warp tool I can easily tweak them and push them a bit further

As soon as that's on this route from a final post

As Frankenstein Vibes is clear Dynamic and I think it suits the character into the animation Vibe well I like him standing

It really feels like it's left in his lumbering Mass into the air and walking in a very exaggerated fun way

No I want to take this rough sketch and draw a title Lanes on top of it so I have a clear sketch for doing final Lane work

On top of so I called the stage of Titan drawing which I think is a traditional animation term for when rough drawings are basically tied down

To clear single lines before going on to clean up

I clean up would be the final stage for the final clean lines are drawn

The tricky part here is to do this for maintaining the energy and essence of the rough sketch often find the cleaning up a rough can kill the floor of the drying and

Feeling of energy in it

Unfortunately I think that's just the nature of rough sketches if you're more alive than I can difficult if not possible just to capture that that same feeling

I truly on a cleaner drawing

I'm using the chunky charcoal brush here

I slowly just figuring out which of the rough lines to keep and which to throw away

Sometimes I'm drawing a new Lionel together which best captures the feeling of the rough scribbles underneath a bit like finding the average of them all

I'm using single clean lines where possible and join them in a single smooth motion with my alarm

For the style character I need to show my final lines are smooth as possible so don't want any Lane wobble or jets

The stage is also about putting account to more on model so I want to fix any issues with the volumes of the design of the characters at this point before moving on to clean

Please wine should be as close to final as possible clean up job a lot easier

I'm also thinking about the masses which make up the character and imagine them is tubes and Spears as a draw rather than just his lines so this helps me tend some unit

Drawing I also asked me to draw through the forms so instead of stopping Lanes where they should be I basically draw through the end points connecting out parts of the draw

The Lanesville unified in singular

For example here if I have to draw the left shoulder and then the right shoulder separately the overall lines are looking at disjointed

Turtle through the forms I can make a nice single smooth Lane and raise the best I don't need afterwards

He answered the arm and leg and what looks like very subtle ways the reason I'm doing this is to avoid parallel lines happening in the pose so

Which is making it supposed to look at that stuff and a natural so just breaking the power of the lanes

Just a little bit really helps to loosen things up

The Titan drawing is not come together nicely so now you get some attention to the left hand in the face

I really nail them down these lines are a bit rougher unless smooth and the rest of the drawing as I'm still figuring out the positioning of all the elements

So just for the eyes are the nose the mouth and so on my gold always make these lines just as clear so again I can easily do a clean up drawing and talk without worrying about

The cactus expression is also very important to the overall post I'm aiming for a confused monster

I don't want to sleep in line here as I want to make sure the hand and the two feet are all nicely in line with each other this is the type of detail that I was

Possible in the drawing the candy felt

So by lighting up these elements the overall drawing feels more Unified

Don't forget to flip your pose this is something I often forget to do but flipping and drawing can help you see issues with the structure and balance

I didn't teach the drawing while it's Flats before flipping it back to normal

Lastly I'm walking the silhouette of the pose on a new layer just make sure everything's reading well and it's clear

Blocking this in reveals immediately if anything isn't quite working

But this rough tight end drawing done I can only move forward to cleaning up

Okay it's no time to clean up the pose by drawing the final line

Before I do that though I want to go over some basic techniques I use when cleaning up the drawing with solid clean lines

Doing final clean lineup doesn't really my strong point

The following technique really make things easier for me

Post office having that tie down drawing so preparation is key to good clean up having that take the title and drawings will make life so much easier rather than trying

Clean up rough lines

Most of the decision making has already been done in the title drawing leaving you now free just to focus on good Line work

To rush settings

So I'm using the default Hardline brush for my Lane work

I want a really crisp line with no texture

I make sure to switch pressure opacity off

With this setting on my brush Strokes will change a pasta depending on how hard to press on my tablet

Because I want clean and paint lines here I just leave off

I was precise on however this means my Lane thickness will respond to how hard I press my pain on the screen

With this particular brush I will make my difference but prefer the feeling of drawing with the setting on rather than off

There's also a smoothing feature available in the recent versions of Fortune

Which basically smells like your lanes as you draw

Feel free to try out but personally I prefer not to use it as it slows down my drawing process it's harder to control those lines and I can achieve good results

Number three drawing straight lines

How to draw perfectly straight line and it's pretty simple to do

So I holding the shift key while drawing a lane Photoshop will constrain it to horizontal or vertical axis

I can then move this line rotate it or take it to Fat using the free transform in the store tools

Number four drawing fast

So he's getting a nice smooth line is to draw fast in a single stroke

On the left I draw a line slowly

On the right a drawing quickly

Hopefully you can see the difference in quality

Never fast I don't mean to go as fast as you can but basically the more slowly you draw a line the more line wobble you might notice at least that's the case for me

Well join this way we'll make for some of the lines it can mean less accurate Lanes so we can digitally is really useful here and my Lane isn't quite right I can just undo it and try again

Number five carved lines on arcs

The best way to approach curved lines is the drawing with the natural arcing motion of the arm

For example try drawing a rainbow shaped curve and then drawing a horseshoe shaped curve

The rainbow should feel a bit easier and more natural to draw as it follows that natural arm Arc

This is where the rotate canvas still comes in handy and Photoshop so by pressing r i can rotate the canvas and laying the page up with the natural arching motion of arm

Make it easier for me to drive variety of Curves

Number six going through and overshooting

Want to join my clean lines I want to draw through my forms

For example here I connect up the lines for their unified rather than drawing but separately

Then I can erase but I don't need them between

I also want to overshoot my endpoints

I tried to stop at the exact endpoint it's going to kill the energy and smoothness of my Lane

I was shooting the Line Stay smooth and confident and I can turn them to fit

For this to work though I need to draw new lines on your layers so I can raise it without fighting any previous lines

Awesome happy with them I can bears all the ways together

Number 7 the store and transform

How often use the distort and transform tools a fork shop just to treat my Lanes so I use a spirit is just a little bit off or maybe too long

I need a little bit manipulation

I don't overuse them or use the warp till here because these have a tendency to distort the quality the lines and make my pixelated which is not what we want with clean line

Number 8 polishing

If you follow the previous steps you'll likely end up with some nice looking lines however they might just need some Polish and finish them off so I use the hard drive brush here

Just to paint on anything that needs to fix such as the Giants where Lanes connect or more complex parts of the lane work

I'm very careful not to touch my clean sweeping lines ever cuz I'll just ruin

That's pretty much

You see me as many of these techniques now as I start cleaning up my character

That's before I set my tight end layout to loroplasty and I just have to draw on top on a new layer

And there we have it my Frankenstein character cleaned up and stay away

The style of landmark is a definite design Choice which really affects the outcome of the character so it really suits the end goal of a 2d animate show

Simplicity and the lines of life for my simpler color choices too

In the next video We'll add color and take him to finish

All right thanks that color

In the style characters incredibly simple really I'm just calling in between the lines here with simple flat colors

I thought my clothes already established in the rough concert so I can use the eye dropper tool to collect these as I go

Because my Landmark is crisp and without gaps I can easily use paint bucket tool to block in a couple of days

I do this on my separate layer underneath the lines but I have the paint bucket tool set to respond to all layers

Yeah check box in the top toolbar

This means the Paint Bucket to responds to the line work as though it was on the same layer as the new layer I created just for the colors

This method isn't perfect though and sometimes I have to fix little gaps in the color with the hard run brush so I spend a bit of time fixing these issues up

I'm making sure my color there looks good

I just want a neutral Midtown background so I can see the colors working a bit better and not be so distracted by that high contrast White backdr

For the face I stopped being in a simple color variation

Separate the parts of the head

I don't mind adding a little bit of complexity here

Cuz I had the most important part of the design however every other part of the design should remain quite simple

I don't see other parts of the legs feel a little bit long compared to the concept sketch

Luckily it's not too late to fix this so using the free transform to a short on the left leg and fix the covers to match

If I was in place I decided not a simple hard Shadow pass to my cancer

I grew my lines and color layers into folder

Then out of Clips later on top of this set to 40% opacity

And multiply blending mode

I paint on this layer with a desaturated bluish purple to create the Shadows which affect both the lanes and the color layers

The shadow could be tricky to achieve in a final character wreck but it has been removed later in the game just a technical restraints it won't be a huge Los

Divide the feeling of this contact is just floating in space at a very simple ground Shadow to it

I don't need to be complicated

But it helps growing the character and make them feel like they're standing on something

And then you're the end of the coloring stage I realize that something bugging me about the head drawing and the characters left hand

Something that's hard to really put your finger on what's wrong with an image

But you just feel it so these areas just didn't feel streamlined enough for drawing all that well so I set up fixing them

I didn't draw over on top of the lineup

I flipped the line up first so I can see the drawing from a fresh perspective

This time as I draw the head I'm really trying to draw the mass of it properly

Thinking of in terms of volumes rather than just flat shapes but also trying to place all of the facial elements together nicely

Also felt like the eyes weren't quite right for the style

Didn't look as close together as they were in the concert and I felt like I was losing the comical babe because of this

So I draw them closer together and I think the character starts to look much better

But hunt I felt it was looking a bit too complicated and out of place and not really keeping with the style I was aiming for

So I decided to really simplify and streamline it so it looks more like the characters right hand

I've also tried to group the fingers together a bit more which really helps with that streamline style that I'm going for

The new rough head and hand established I do a new tie down version of them

On top again

Really clarifying the lines and preparation for cleanup

I've also flipped the drawn again so I can see if it comes to the nicely from A New Perspective

No thanks for clean up again using that new Titan joins the gate

I start the head really focusing on getting eyes right I'm in length of style I want to cheap you

I feel like I just feel much better than it was the first time around

Then I clean up the new hunt design

I also feels much better than it was

It's more simplified and fun and how much is the sale of his other hand that just feels more unified with the rest of the design

I mentioned a few times avoiding drink too much detail in the joints of characters such as the elbows and the knees

I realize that patch on the right arm sleeve was just a bit too close to the Elbow for my liking so I decided to tweak it moving it closer to the hunt

A lot of these little fixes could be done as a cat gets closer to anonymity

There's no harm in preempting at this stage

In fact doing so now means less times wasted farther than the design pipeline

I can't quite get my hair feeling right for some reason

So I copy and paste in place I trace over

Everything I just use any method accountants make my life easier on this process

With a new lines all done all that's left to do is just fix the underline colors on the shadow layers

I'm so much happier with a new line work I really improved the structure of the face or simplifying the hot details

Bringing these areas more in line with the desired Style with this character

Nothing done Frankenstein and style a

I'll get them simple and streamlined focusing on a strong silhouette and shapes or pushing the proportions and contrast effectively and choose which is fine

I decided for this version of Frankenstein to run with photos night boats so they don't clutter out the design

I still have enough design cues to convey who he is such as the stitches and the classic Frankenstein head shape

Hope they have achieved I'll talk to anybody here with this guy and the steel animated TV show

Okay it's final concept time so I've already settled on

Concept 2 is my idea so just like for style a I'm going to start my figure not pose for him

Michael he has to find a pose which reflects who he is will also be fitting for the final sale and context so in this case I'm in it for something a lot more subtle and

Compared to Stanley which is broader and more action-driven

I generally like the concept already in terms of the pose so it kind of feels about awkward and a bit vulnerable

And I've also having lumbering which is kind of what I want

So did I just take it off concept as a starting point and drive over the top of it to explore different pausing ideas based on already have

Starting your sketch by playing around the hands

I think I can bring a lot of life and feeling into the pose by making the hands perform or do something in some way

I want to suggest he's thinking about to do or say something

I don't want to go crazy with the news I'm trying to find some subtle hand gestures which accomplish all over

I really like the clenched hands I had one of my roofs

So try bringing that back in here

I'm not sure exactly what is a like about it but I think it gives the feeling of some tension in the pause

Or they can't quite use his new body properly yet

I play with his expression too

Even though I quite like the expression in the rough I still want to keep exploring to see if I can push this pose about further

I don't get the expression something will not push them too far though as a name for more relatable performance in the style

Can I try drawing and you put some scratch focusing on different height angle just give a feeling it's looking down on someone

I want to push the idea that is large in terms of everyone

I do like this approach but I'm not convinced it's what I want to sell his character

That's going to be a lot too confident and maybe not vulnerable enough

Here you can see me cutting and paste in one of the hands from the Ruffs onto the sketch just to get it right

I love the Hans in the concept sketch so there's no part time to redraw it and I can just cut and paste it and see myself a ton of drawing and redrawing

All the police so far but see me so I decided to try something completely different

More interesting position

I can't wait behind me held up and then I was crying ship

I kind of a list of that classic Frankenstein hands out in front pipe

But in a more subtle and less carton anyway

I can also suggest some underlying tension in the characters pose

How to say my second sketch isn't really going anywhere so I get rid of it here I replace the four sketch with a variation on the first

Adding a number to his head upwards

I'm so just feeling things out here experimenting and seeing what feels right once again these are very rough and loose sketches so I'm not investing a lot of time and playing around

Different ideas

I took the first sketch and really sucked away is just trying to hunt the statement

Lightning's legs and rotating is torso makes me feel a bit more hunched on a stable now which I really like

Unable to silhouettes

Try this process you see me do this a few times again I want to make sure the police are working silhouette form this is especially important for this character as

A lot more subtle than Staley

So if I could be more easily lost

At this point I decide to four sketch just doesn't work for me

I'm sorry I love the initial concept sketch from the last video about what to try it with just a variation in the arms so I copy and paste it and draw on top playing

Getting ready for Hans and Trenton Hans to underlying pose

Somebody just opens into place I really like this version

So I decided to move forward with it it covers everything I wanted from this pose it feels about insecure and wobbly on his feet well at the same time

Suggest he's about to do or say something

Was talking about I'm sure about to move his body physically almost like he just woke up and he's coming too

No I just need to dress as rough sketch into somewhere to find and clear line art this is essentially doing a title drawing like I did for sale

The difference I won't be using it as a reference for drawing clean Lanes on top

Instead these lines will be used as a reference to help me paint in the forms and colors of the character

They're just foundations from a painting and won't be any final concept piece

Because they don't need to be perfect clarity is what I mean for so I spent about time in the landmark here figuring out the design and cause of the hand

Tweaking things using the distort tool and making sure everything is in place that will eventually need to paint out with

I don't want to go into the painting stage with anything unclear

Lastly I threw in another silhouette later so I can double check the poses working nicely

And I do worry about having been hidden within the mass of a startle

I really think so it works and reads well it's got those Frankenstein Vibes and I can face ideas I want to get crossed but who he is and

As much more salt than snail is but if it's the needs of this version of the character

I think it sounds personality and it's fitting for a 3D feature

The Next Step will be that color I'm being painting the final concept piece

Same to paint on my calendar so I'm going to use a basic painting process

Tires for when I need to call her character quickly and efficiently

My first goal is to block in the local colors of my character

If you're not familiar with this town local color just means the innate color of an object before any light interacts with it

For example the apple on the left local color is red

Well the one on the right is

If we apply lighting to these their colors will appear to change but the local colors would remain the same

So for my character the local colors are pretty much the ones in the rock concerts

I got to pick them and I start walking into my Silhouette

The motorcycle Orange

So don't want my line out to be very visible here just enough so I can see but I have to paint my colors and forms it's more like a guide layer and it's progress through this piece I start

I've been hard to just paint without solid reference drawings give me right

I'm also not just coloring in between the lines

I'm using the local color there to tweak and refine the different color areas and shapes as I go

With the main body done I start to break down the different parts of the face into the local colors

I want some color variation here particular in the eyes nose and ears

No just that lane Apostle just a bit the 75% and I continue painting

This way I can start to see if the color there's working well we'll still be able to see the lines for reference

Here I lock the transparency on that layer and I start to paint out the lines a bit in the same color as those shapes beneath them

Line layer and the color there this is a big step that's not going back here so my next goal is to start painting at the length slowly as I blocking these

Codes for the

My local color is pretty much established I get a backdrop in there

I don't like painting off a character on a white background especially one like this which is going to be destined for 3D

I want to get some more realism going on in the lighting and Farms so working on the midsoon back and really helps with us

I go for quite neutral gray at the moment but plan to add some light into it as a progress through the piece

My next goal is to block in a simple Shadow pass on the character

I just want a new layer set to multiply Clips to the color there

I said it roughly to 50% positive then using a desaturate purple I paint in the shadow

I chose a very clear Rim lighting set up here with the main light coming from behind as I think I'll look cool and sit in the middle of the character and making a little bit intimidating

So this isn't a character design Choice per se but it's more about choosing how to present the character in order to convey who they are

You'll notice immediately a difference between the Shadow and one for sale a

I'm being careful consideration to the forms of the cancer which are much more nuanced and complex here

I'm also cheating the light thing about you so I can show the arm coming in front of the body

This is called license has Han probably wouldn't touch that much light from this position but it looks good and I was also believable and that's how it really

What's my basic Shadow lived on I'm in a good place to start refining it

Text me another multiply 50%

Dr Shadow it is in the same desaturate purple

How to stop adding some Shadow edges all on the shoulders so Shadow Edge is where the light from a particular light source terminates you expect to see a

Edge of shuttle on that shoulder because that's where the main light source no longer reaches and it's just before any bounce light from the environment starts to light the forms from the

I'm focusing on building up two types of Shadow here cast shadows and form Shadows

How far Shadow is a shadow created by a light has particular form

Where's the cash Shadows of the Shadow Creek and light is blocked by an object preventing that light from reaching a surface underneath

For example here the Armory a cast shadow on the character's body

Here is the last color blending mode Samsung color variations to the face

It really starts to bring his face is like to life the face alongside the hands is one of the most important parts of a character especially when it's performing

Don't bring it to life really like saying part of this painting process for me

Father push my dog it is now it's really start showing the forms of the character especially the areas that we get at least like for example for a different forms connect with each

Britney shuttle starts to sell the farms and s*** for the concert even more

No thanks push the lights in a bit further

I couldn't hear such an overlay blending mode and I cut it to the main color there using the software and brush and a pale yellow color I brush in some lighting along

Shoulders head arm hands and even the leg I want the strongest light to get the shoulders and head so careful keep the other areas more subtle

Instantly the lightning starts to take next to the next level

So this stage I'm really just problem solving my lighting setup

I've been in strong foundations

I'm not detailing image yet I'm just clarifying father always design choices I know it should be clear how different this process has been compared to silently so it's

Complex with more things to consider than before

Here I'm at all my clit layers into one

This is a big step because I'm not ability to easily modify the shadows and the lighting

I want to work simply make life easier without too many layers to keep track of so I can be a bit bouncing but it's also quite free working on just one layer

Start out more classification to the face sometimes get more nuanced with some of the Farms know painting up more of the lanes and blocking in some more of the subtle forms and the mouse

How to stop that more Nuance to other areas such as detailed thickness of the jacket sleeve I try not to feel the detail one part of an image and then the next to the next

But that's about the whole image slowly jumping from bed to bed

That's it one area of the character to final polish is how to judge the Pieces come together nicely as a whole

The Honda propose so he spend some time getting them right

Luckily the line drawing was pretty clear and really helps me out with clarifying the structure of the fingers and the knuckles

I'm really aiming for that stylizing that's me from the style guide here keeping the form semi-realistic a bit chunky and it's just enough not to be going on

Everything slowly come together so keep moving around my image pushing the lights and coloring forms even farther

Again I'm not polishing things yet I'm just blocking things in and create a very strong Foundation

Also start walking some of the details I messed up until now like the buttons on the trees on the jacket

These pieces are really important to the concept design as they sell the idea of the jacket just being a bit too small for this character

I'm always looking for areas where can push contrast and put the value structure of an image so enhancement of the shadows and add some cash Shadows from the treasures onto the boots

No Adam's jacket stripes

I want to keep them editable so I keep doing a separate clip layer set to Overlay and a 30% pasta

I like to keep these after all the way to the end of the painting process has to be a pain to change if I marry some now with the main color there

Electric so I spend some time ranging at The Farms I'm also trying to suggest some faults as I do so here is this going to be for 3D I don't have to worry

Sorry as much about these details

Obviously I can't go too complicated with fully realistic Fabric and folds but some suggestion of them makes us design look and feel a bit more 3D

Let me just come together quite nicely I just use the cards adjustment here to pick the colors and contrast so that may start to pop a bit better

I have a chance to paint images with not no contrast so let's talk really help you

There's been a little bit more time to find the hands and I'm basically done with the color blocking

Hopefully you can see how about the same job using a simple process start with local colors adding basic shadows and building up from there

I'm not a good position to move forward from the lighting forms are all problem solved leave me just a Polish and detail everything up

It's still okay

Crystal surveillance Wisconsin

Because invisible