All language subtitles for 083 Introduction To Shading Characters.en

In this lecture we're going to be learning about how to shade in our characters.

So when it comes to shading it basically is really lighting that we're talking about.

So we're talking about highlights and shadows but there's some simple ways that you can kind of break

down your characters.

So you kind of know where to shade them because sometimes when you're shading a character you don't

have reference and you have to just kind of do it out of your head and the way we do this is by imagining

our characters or whatever it is that we're shading as flat plain.

So we imagine as flat plains first and then we blend those flat plains together.

I'll show you what I mean.

So let's say for example rather than doing a sphere or coloring in a sphere or shading in a sphere what

we'll do is we're going to make kind of a more geometric type of shape has flat plains but kind of resembles

a sphere.

So what I wanted to do is a way to go ahead.

We're just gonna draw kind of a square like this.

Next we're gonna go ahead and draw an angle line going back like that.

And another one going back like that at about 45 degree angles

and then we'll go ahead and connect those tops with a straight line like that.

Then we'll go ahead and draw a line coming straight across like this.

And like this

we can go ahead and connect that just like that to make those triangles

right in the middle draw basically the same thing we have over here on this side but we're gonna draw

on the other side.

Now you can do this with paper and pencil as well.

Don't think that just because I'm drawn digitally that you also have to draw digitally

All right now.

Actually we could probably add a little bit more of a surface over here on this side like this

just kind of get some more of a round geometric shape in because we show a little bit more of this side.

That means that we have to shorten this side a little bit because if you remember when we rotate 30

objects as one side becomes more apparent and more in view we have to squash the other side.

So let's go on just kind of squash us a little bit.

I'm just going to do that by drawing like that a little bit further in and then I'll just use my wrist

and I'll just erase out the part that I don't want.

All right.

So yeah.

So we have this pretty simple geometric shape it kind of resembles a sphere.

The reason why we've done this is because we want to rather than thinking of a sphere where it's all

round surfaces all the way around our sphere we want to think of it more as flat plains because flat

plains are really easy to light.

They typically only have one value on them.

So let's go ahead and let's add some values to this.

Go ahead and enlarge it a little bit just so you guys can see it a little bit better

great.

And we can go ahead and bring the value down a little bit.

Just make sure if you're drawing with some paper with paper with paper and pencil that you don't draw

too darkly for this outline.

All right.

So next we need to decide where our light source is coming from.

So in this case we're gonna have a light source coming from kind of in front of it or actually let's

just have it kind of coming from the side.

So something like this so you can see that by representing it with a cone it makes it a lot easier to

understand where that light source is coming from.

So what we know is that the light source coming this way and it's going to be hitting that surface and

there'll be a bunch of light rays coming off in that same direction.

And so we know that this surface right here is going to be getting hit with the most light.

So what we want to do is you want to consider this our white area.

So if our shape or form here was white so white would be zero on our value scale.

This part right here is going to be the brightest part so we're going to make that white next building

off of that.

We can start to understand where our shadows are going to be and where dark shadows are gonna be and

where lighter shadows are going to be.

So basically on the opposite side this surface right here on the opposite side behind the object would

be the Dark Horse area so we could say that would be black if we wanted to but we can't actually see

it.

So it's not this guy right here.

It's actually behind it.

So we can't see that.

So we don't have to actually color that in.

But so basically the lightest part's gonna be there the darkest part will be on the backside behind

this form.

And so we need to use that information toward advantage.

So a lot of new layer.

And let's go ahead and let's start with the lightest values next to the White.

So I'll go ahead and select that color my brushes and the lightest areas are going to be on either side

of the white part.

So these surfaces right here they won't be as bright as the white area but they'll be getting a little

bit of shadow on them next.

Let's go ahead and do the next brightest part.

So the next Bird's part would be this surface right here.

So we can go ahead and paint that in with this same light gray.

Now if using paper and pencil you'd basically just shade this in the way you normally would.

So just using the pressure to control the lightness or darkness of the pencil next let's go ahead and

do the next darkest ones of the next dark this one is going to be these ones right here.

So go ahead select this next dark color

and I'll paint those too in

this doesn't have to look perfect.

This is just for your understanding so don't get all hung up on this painting or there's a drawing because

it's not that important that it looks super good.

It's more about just understanding how each plane has a different value based off of how much light

or shadow is on it.

All right.

Next we're gonna go ahead and move on to our next dance value which will be number three and we'll go

ahead and we'll paint in this bottom area so you kind of see a pattern you see that it goes from light

to on the sides of it it's a little bit darker and it does the same thing down here.

So once we go from white we go to this sort of slightly darker gray and then on the sides it's gonna

be darker than this one right here.

And it's just all based off of where our light is coming from this is on the underside right here where

I'm painting in.

And the reason why it's darker is because not very much light is going to be hitting it because it's

on the underside of where the light sources.

So it's all going to be in shadow

then we'll go ahead and select our next darkness value

to be that one

and actually I just realized I made a mistake and the mistake is that I should have moved this value

here to there.

But instead I moved to a darker value so I get to go ahead and undo that.

Just going to select this value and I'll just paint that down here in the bottom

then I'll go back and I'll reflect that value that I accidentally painted and that should be on the

sides.

All right great.

So next as we start to move around this way the value should also darken because it's getting around

to the other side of the sphere or this form so less light will be hitting that dark and a

now up here in this top surface We might actually get the same value just because the light source kind

of from above some of those light raised might kind of bounce around and get up here.

So we'll keep this kind of lighter than

then we'll go ahead and select our next dark value which would be for go ahead and paint in this little

area right here

and if we wanted to we could even go ahead and kind of paint in a cash shadow

something like that doesn't have to be perfect looking

but there you go.

So they're just kind of a basic form of geometric form where we can decide what the highlight or shadow

is going gonna be on each plane or each flat surface of this form.

And this is a good way to visualize in your head what the lighting is going to look like on your object.

So if we were to go ahead and paint this as let's say a sphere.

So what we would do is we basically be blending all of this together in a way it gets a little bit more

rounded and complicated in here but you'll see what I mean.

So let's go ahead and let's paint or draw one really quick.

So go ahead just grab some gray sketch show circle like that and I'm gonna go and just fill that in

some just filling that in with kind of a mid tone Gray.

See it's about that color.

All right.

So this is gonna be our mid tone.

I can go ahead and I can grab this lighter gray and that can be it's one of my highlight up here on

my lighter area and if I wanted to I could even grab some white

and paint in groups and bring that opacity back up paint in a highlight like that.

I'll make that a little bit smaller like that.

You know we can go ahead and let's grab let's say we'll grab this darker gray right here and we'll sort

of paint in the core shadow

and I'll grab this darkest color and I'll just kind of fill it in like this now because this is round

we kind of get this bounce light a little bit more prominent which is just this lighter area right here

on the underside of the sphere.

Yeah.

And if we wanted to we could go ahead and blend all this and a little bit better not using a very good

brush for blending.

It's kind of more like a pencil brush but should be getting the idea so we can blend that end scene

with up here.

Something like that.

Right.

And so these are kind of the same basic values and they're kind of lit in the same areas as we have

over here on this sort of more geometric sized sphere.

I don't know you would call that but but you can see how we can kind of translate this into that because

all of our lighting is kind of in the same areas.

So when it comes to doing characters it's going to get a little bit more complicated.

So let's go ahead and let's talk about that.

So if we're drawing a character typically you're going to break down the face and the flat plains as

well.

And this is more in your head.

You don't have to really draw this every time you draw character but let's say for example let's go

ahead and draw in sort of a shape like that.

So it's kind of a stretched out rotated diamond I guess you could say and let's go ahead draw another

one right here

and I'm leaving about this enough distance that another diamond could fit in there.

Because what these are representing are the plains of the inside of our eye sockets.

So you'll see what I mean here in a second.

Let's go ahead and add the bridge of the nose.

So I'm gonna go ahead draw a line kind of coming down at that angle.

So a little bit more angled that way than this first line that I'm basing it off of.

And then I'll go ahead and do the same thing over here and that'll angle in towards itself.

Can you draw a straight line there and they're using our race or we can just go ahead and erase it.

So remember if you're drawing with paper and pencil just always draw lightly until you're ready to finalize

your lines.

All right.

So we have eye socket and eye socket.

So one and two and then we have the bridge of our nose next.

Let's go ahead and draw out our nose.

We're just gonna kind of draw a trapezoid shape coming out like this.

And this will be kind of a three quarters view of a head just so we have a better idea of what's going

on here and then I'll angle that back like this.

Now if your proportions are correct while you're drawing this that's totally fine.

We're not trying to master the facial proportions right now.

Right now we're just focusing on understanding the flat plains of the face so you can see a draw triangle

coming off like that and then drawing a line coming up like this.

And we want to kind of create another trapezoid right here and then connect it.

So now we kind of have a geometric representation of the nose and the eye sockets and we can connect

from right here from the top of the nose right into the eye socket like that.

Next let's go ahead and do the cheekbones so go and draw a line coming off like this and a line coming

off like that and this is just going to represent kind of my chin like that just a rectangular shape

and we can make this a little bit more complex or even more simple if we want but this is somewhere

in the middle.

So we're just gonna keep this one kind of flat plain going across or like that.

Next let's go through the cheekbone.

So the cheekbone is gonna come across like this.

It's kind of starting at the corner there I'm moving down like that.

We'll do the same thing on the other side because the angle we're looking at the head it's going to

kind of go more like that.

And actually what we can do is it should be a little bit more angled outwards so when I go Honey races

I'm going to add a little bit more structure to them.

So these will still be flat plains but the edges will be more like this.

So line coming almost straight down and then over.

Same with on the other side.

Just so we kind of get that cheekbone protruding out a little bit more.

All right.

Next let's go ahead and let's kind of add in a jaw

that will be one big flat plain as well.

We kind of get back here then we can hit a different flat plane like that.

Then we get the side of the head so kind of the cranium we get the fore head and then we can kind of

just go ahead and let's just round this out because we have an idea of how to light a sphere so we can

just kind of draw on a sphere like that around line

Let's go ahead let's do that year so I'm just going to kind of represent it with a squashed cylinder

so add an edge to that

and then for the neck we could just represent that with kind of a rectangular sort of form like that

all right.

Great.

So now let's go ahead and let's start filling these in with some shading.

So first we need to decide where our light source is coming from.

So in this case we're gonna have it kind of coming from above like this.

I have to draw it over there because otherwise you're going to see it on top of that very well.

But just remember that basically the light source has a bunch of rays coming across like this.

This is something like the sunlight or it's very big.

And so we have these rays of light that are gonna shoot across our object all the way across.

All right.

So now that we know that we know that we want to identify probably our lightest areas or highlighted

areas will represent these with white.

So if the light source coming this way it's going to be hitting the fore head.

It's going to be hitting the middle of the nose is going to be hitting the cheekbones.

Let's see.

That's about all the plays that's going to be directly hitting.

So we can go ahead and leave those white next.

Let's go ahead and let's figure out where the dark series are gonna be.

So the underside of the eye sockets here and the underside of the nose are going to be pretty dark because

those are eight facing pretty opposite from the light source so we can go ahead.

Let's grab let's say let's grab a four.

I want to go ahead and light this up

and we can go ahead and fill that in now with that number for value we might come back and change that

but this just to give you an idea that the darkest areas on your character when you're lighting them

are probably going to be in the eye socket area or above the eye at least.

And underneath the nose and also a lot of times you get a pretty dark shadow underneath the bottom lip.

But in this case we're not gonna be representing the lip because we're just trying to keep this as simple

as possible.

Now based off of this we know that the bridge of the nose right here is angled downwards kind of a little

bit ways from the light source but not as much as the inside of the eye socket.

So we can use something a little bit lighter so let's use the number one go and fill it in like that

and then we can go ahead and use the same green fill in the side of the nose because that is facing

away from the light source just a little bit but it's still going to be getting hit by a lot of the

light because it's not facing directly opposite from the light source.

This underside where the nose and the eye socket connect right there that's going to be a mix in between

the two.

So let's go ahead let's grab the three value and let's go out and fill that in just like that.

Leave our cheekbones white.

We can fill in the underside of this nose and since it's moving off to the side and the side of the

nose is gonna be a little bit darker we can go ahead and grab a number five to darken that part of the

nose in

and then this surface right here isn't necessarily directly facing the light source if it was to be

more like that but instead it's kind of a little bit more vertical and just straight up and down so

we can just keep that a little bit of a darker value.

So just go ahead and grab the number one value and I'll paint that in

and then the sides of the cheekbones or the jaw those are going to be a little bit darker because they're

moving off to the side because our light source is kind of heading directly in the middle of the face.

Anything that's kind of rolling around the side of the head is gonna become darker and darker as it

moves all the way to the backside which is where our darkest shadows would be.

So we can go ahead.

Let's select.

Let's go and select a to fill that in with the two woops

do the same thing on the other side

and then this is going to be facing even more away from our light source that's even more on the side.

So I'm going to go ahead and select an even darker value so select three can go and paint this side

and with a three

and this right here is basically going to be the same.

So go ahead fill that plane in as well with the same

and then we get the underscore or we get this neck.

And so we're gonna get what's called a cash shadow.

So let's go ahead and let's paint in a cash shadow.

I'm going to use a darker value cash.

Cash shadows tend to be pretty dark.

So go ahead paint that in.

It's going to kind of mimic the same shape as the jaw lines.

You kind of get this going on right here.

And this side of the head will just be that same value.

So just shade all that and dark

now other places will where we'll probably be getting cash out of is right underneath this nose like

that and probably a little bit on the upper part of the cheekbone like that.

All right next.

Let's go ahead.

We can paint in this year now so many use since it's kind of more vertical and flat and not necessarily

angled upwards towards my light source.

I'm gonna go ahead and use the same light Graves using before and I'll just kind of paint in the front

surface of that and then the side surface can be more of this color and as it curves around to the top

where the light source might be hitting it a little bit more I can go ahead and lighten that up a little

bit so I'll go ahead and grab a lighter value and added in right there and then grab another lighter

value so maybe something like this I'll pay in the top like that and as it curves around to the bottom

it'll get a little bit darker so I'll add a little bit of a darker value down towards the bottom

that.

All right.

And then also since his neck is also in that same sort of facing forward position as this part of the

mouth I'll use that same value to paint in the bottom of the neck.

Right there

and then the head is just basically a sphere.

And so this whole area is getting hit by light pretty well.

So we'll just keep that all nice and white.

And then as it begins to curve around the head back here it's going to start fading into more of this

lighter gray

which is then going to fade into an even darker gray

and then that's going to fade into a darker gray and we'll kind of start trying to blend these together

a little bit this lecture isn't really about blending in with paper and pencil or with digital medium.

So I'm not going to focus too much on the blending I kind of actually want to see where the change in

the values are.

So there we go.

And you'd probably get a little bit of a cash flow coming over onto the ear like this yes.

So there's just kind of a basic head form where we've figured out where the lightest parts are going

to be in the darkest parts is gonna be based off their flat plain forms and then from here you can blend

this all together on the edges and make it look more smooth rounded and just more organic.

Also another thing is if you want to go ahead and add in a cash out it you could do that if you wanted.

So since lights were going that way the cash out would kind of be going off like that

at a round shape.

So it's kind of the shape of the head and you're great.

So it's not an amazing painting or anything by any means but it gets the idea across that basically

when we're shading in a character's face we want to think of the flat plains and what sort of general

angle is that plane.

Because if we know what that plane is angled at in relationship to our light source then we know whether

it's gonna be lighter or darker.

So just always remember things that are facing away or hidden from the light source are going to be

very dark and in shadow and things that are directly facing towards that light source are gonna be the

lightest and brightest parts of your character.

So let's go ahead and just really quick I just want to kind of sketch out a simple character.

This might not turn out super well but it's just for demonstration purposes.

So when we're drawing character we might not even just draw them out as geometric shapes usually won't

but are geometric forms that is with flat plains.

But if you're drawing a character you might think of it more organically but still it will help if we

can think about it as three forms and which direction is that plane facing from our light source.

So if I go ahead and draw a kind of two circles like this to represent my character's eyes and then

I can go ahead and kind of do an oval coming off of that to represent kind of like the underside of

the brow

like that.

So basically my eyebrows would be at the top of this sort of shape or form right.

And then I could go ahead and think of the nose as kind of a rounded object like this sphere

right

and then I can think of the bottom part of the face is kind of like a big oval sort of shape but this

is three dimensional obviously I can think the top of the head as kind of a sphere that right.

And all these can kind of be smoothed into each other but by having an understanding of these three

forms and thinking about their flat plains you can imagine that the inside of the island is kind of

going out like this right.

The nose is kind of curving around like that and the underside of the nose is kind of doing this thing

right there

right.

And so and then we can go ahead and kind of add some grid lines to represent the roundness of the eyes.

Right.

And so by understanding these forms we can kind of visualize those flat plains.

So if our light source is coming from above let's say like this

well then we know that most likely to go ahead and lay this up.

Most likely the darkest part is going to be on the underside of this brow.

And that's not to say that you have to make it this dark.

It's just probably going to be the dark is part sometimes you might not want to add this.

Sometimes the style ization of your character calls for not adding a dark shadow above the eye.

But if you want to shading your characters realistically above the eye is going to be the darkest part

and then the underside of the nose.

And that will probably cause cast shadow a little bit.

Right.

And then the underside of the chin and the cheekbones.

That's going to get some shading as well.

You'll also get a little bit of shading on the underside of the eye because it's around so the underside

of it will be a little bit in shadow

right.

So it's not a great drawing but I'm just trying to get you to understand that by understanding where

your light source is what the plains of your form is whether it's of a character or an object if you

understand what those flat plains are in general you're going to know whether it should be light or

dark in that area.

And then once you know that then you can just kind of smooth altogether blended together shaded and

softly to create that more natural realistic look.

All right.

That brings us to the end of this lecture where we've gone over the basics of shading your character

designs.

Thanks for watching and I'll see you in the next one.