All language subtitles for 027 Line Weight In Character Design.en

All right.

In this lecture we're gonna be talking about lying Wait so what is lying wait.

I kind of touched on it a little bit in the last lecture and I'll line waiters is basically it's just

the thinness the thickness the lightness or the darkness of your lines.

All right.

So for example we can have either thin lines like this or we can have thick lines so for a thick line

we'd have to go back and forth a few times

and then we can also have either light lines so just pushing with less pressure to get those lighter

lines

where we can have darker lines like these ones here.

So those are options.

You can also have light thin lines right.

And what these lines do is they help with the composition of our character design.

Now we'll talk more about composition later.

But basically what you need to understand is that these lines help create a focal point and a focal

point is just where you want your viewer to look first.

So for example typically on a character design you want the focal point to be their face.

And more specifically a lot of the times that's going to be their eyes.

But definitely that's going to usually be the focal point and the way we can create that focal point

and draw our viewers eyes into that area of the drawing is by using line waves.

So typically a darker line a thicker line is going to be more of a focal point.

So we'd probably want to put darker thicker lines around the eyes of our characters.

So for example having dark thick eyebrows makes that area more of a focal point or having the eyelashes

on a character be really dark and thick.

That all helps create a focal point around that character's eyes and then things that we don't want

to be the focal point would be either thinner or lighter lines or both.

So let's say for example their hair or let's say for example they have a quiver of bows on there or

arrows on their back that might just be something kind of in the background that's part of the character

but it's not the focal point.

So we might want to draw the outline of those quiver bows a little bit lighter a little bit thinner

lines.

Now another thing to take into consideration when you're drawing the thickness or thinness or lightness

of darkness of your lines is you want to think about the atmospheric perspective and what this is is

basically the further something gets away the more atmosphere there is between the viewer and that object.

So a good example of this is if you have mountains around you if you've ever seen a picture of mountains

you know that they're really far away usually and they look kind of distant because there's sort of

this haze between you and those mountains are a little bit lighter than they would look if you were

right up close to them.

And that's just because the atmosphere in the air between you and those mountains cause them to look

lighter and the same thing we want to apply to our line ways.

So things that are kind of further away even if they're not that much more further away so that the

arrows in a quiver for example on the back of your character those are going to be lighter.

So if we have a character for example like this and just for those of you that don't know what a quiver

of arrows is it's just the thing that holds your arrows so just kind of sits on your back like that

God put a sash under character and a few arrows in their

so not only would we want to make his face more of the focal point by adding darker lines but we would

also want to make his face closer to the viewer so the lines are gonna be a little bit thicker and a

little bit darker because they're closer to the viewer.

We're going to create that atmospheric perspective and then the arrows are gonna be a little bit lighter

and thinner.

So let's see what this would look like.

So we could go ahead and give this character some years and we're just making them nice and dark and

a little thick make the outline of the head a little bit darker

and we'll make the band for the quiver a little lighter and a little bit thinner and then we'll just

leave the arrows as they are.

So as you can see we can still see those arrows.

They're just not overbearing.

The focal point which is the face if we had eyes in here we could give them some eyes right and make

them nice and dark and thick.

We don't have to do that all the way around.

This is just to give an extreme example a good example of this would be Spider-Man for example which

his face kind of looks like Spider-Man but he has very dark thick lines around the white part of his

eyes which creates a very strong focal point.

So we want to take into account what we want our focal point to be when we're drawing the line way of

our lines.

And we also want to think about the atmospheric perspective what's closest to us and what's further

away in the case of this the front of the face is actually closer than any other plane on his body or

his quiver of arrows.

So that's going to be the darkest part.

All right.

So let's come back to this character drawing that we did.

I'm actually going to switch over to a red pencil and you might be wondering why I'm doing that.

And the reason why I'm going to be using a red pencil is because it creates kind of a cool effect.

I just like to layer red on top of blue and use my red as my final drawing line you'll see why in a

second but you can just use a normal pencil or if you're using normal pencil from the beginning you

just draw your under drawing lightly and then on top of that you're just going to go ahead and push

harder and do your final lines.

So when I go ahead and take my read you'll see that it kind of mixes with the blue and it kind of creates

a darker color it's not just a red it kind of creates a dark purplish almost black color.

So that's why I like drawing with this.

It just kind of adds a little bit more color and interest to your sketches.

We don't feel like you have to do this.

So let's go ahead and let's start darkening in some detail.

So for example let's go ahead and let's start up here with the eyes where it's kind of sketchy we don't

really know exactly what's going on here so let's go ahead and let's finalize some of these lines.

Somebody go ahead and just kind of make an angular triangle shape like that and then do another one

going off like this and then I just kind of make that flick up there at the end for the eyelash.

Then we'll go ahead and do another one over here.

But because of the angle we're looking at this character we're going to make that a little bit shorter.

Go ahead and at the end of that eyelash like that.

Perfect.

Let's go ahead and draw the shape of the eye like that

and I'm going to switch back to my blue because I never added irises and I'm just going to draw some

irises in there.

So we're going to have the irises kind of looking at our viewer a little bit

fill those in

let's go ahead and fill in the eyebrows.

We can see how much this red stands out from the blue and that's why I'm using it because it works as

a final line drawing because it really stands out from the blue the blue almost disappears behind the

red

and then her cheek is a little bit too round.

I want it to be a little bit more angular so I'm going to kind of give her more angular cheekbones.

So we're going to come out like that rounded a little bit but just make it kind of more pointy like

that.

And so those are the kind of changes that we can make when we start going in there with our final pencil

line drawing

go and give her her nose

draw.

LIPSON

could go ahead kind of do some red blush across from the face

and you can see that right now.

I have basically use very dark thick lines this entire time.

So but the thickest place where we see the lines are on her eyelashes and on her eyebrows.

And so those really become the focal point because they're so dark.

We can go ahead and give her some eyelids as well.

Strong line like that to roll in like that.

Great.

So now as we start moving onto her neck for example we don't want it to be as dark or as thick.

So I'm just gonna draw a little bit lighter

with these like that.

And then what we can do is anywhere where these lines cross like right there for example so where they

kind of touch.

It's kind of a tangent line but not necessarily but kind of similar.

We can go dark in those areas just to really emphasize that.

So I can darken that line and that line can darken that and that right there

can darken right here on the edge of the head and on that eyelash just anywhere where those lines cross

like that.

Once we start drawing the heron we can do that as well.

So let's go ahead let's start sketching in that hair

again.

We don't want it to be super dark.

Go ahead and kind of leave her ear in there and put her hair behind it.

Just like that

now I'm just kind of start changing up the hair.

Even I have this blue under sketch.

I can kind of just change the way I want the hair to flow a little bit like that.

Now this might not be the best character design does not turn out super fantastic but she's getting

the point across that we really need to focus on our line weights in order to get a really good character

design you need to take a little bit more time.

That's why this one didn't turn out as good as it could have because I didn't go through the process

of concept designing or anything like that.

So I just wanted to know that you should come out with characters even better looking than this.

If you follow what I teach in the course for now we're just really focusing on this line wait.

All right.

So there we go.

Let's go ahead.

Let's darken the shoulders in a little bit more.

Keep him kind of thin but darken him because I want the shoulders to stand out a little bit more from

the hair.

And then I want the hair to kind of be the least focal point part of our drawing and then we can go

ahead and darken the lines were some of these lines crossed like right there could also do right here

in the year.

Let's go ahead and kind of give her a little bit of a sidebar in there.

Most going to give a little bit of a darker line up here where the hair meets the forehead

could also probably darken in the saline underneath the eye a little bit more darken in that pupil could

even maybe thicken these eyelashes up just a tiny bit more.

All right great.

So there is a character design like I said it's not amazing I'm not super happy with it but I just wanted

to pay attention you can see that we have the thickest lines where we want the focal point the thinnest

and lightest lines out here in the hair what we don't want to be the focal point.

And we're also paying attention to the atmospheric perspective.

So the face is the thing that's coming forward towards the viewer the most so it has the darkest lines

around it and then the neck and shoulders are the next closest thing and then the furthest thing back

would be this hair back here that falls behind the shoulders and that's why the lines are the lightest

and the thinnest.

All right.

So make sure that you remember this concept.

Think about it.

Start applying it to your character designs and I'll keep reminding about this as we go through the

course but this is an important thing when you're doing your character sketches and we'll start applying

this to much better drawings in this but.

All right.

Well that brings us to the end of this lecture.

Thanks for watching this lecture and I'll see you guys in the next 1.