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In this lecture we're going to be learning about how to shade in our characters.
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So when it comes to shading it basically is really lighting that we're talking about.
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So we're talking about highlights and shadows but there's some simple ways that you can kind of break
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down your characters.
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So you kind of know where to shade them because sometimes when you're shading a character you don't
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have reference and you have to just kind of do it out of your head and the way we do this is by imagining
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our characters or whatever it is that we're shading as flat plain.
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So we imagine as flat plains first and then we blend those flat plains together.
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I'll show you what I mean.
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So let's say for example rather than doing a sphere or coloring in a sphere or shading in a sphere what
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we'll do is we're going to make kind of a more geometric type of shape has flat plains but kind of resembles
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a sphere.
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So what I wanted to do is a way to go ahead.
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We're just gonna draw kind of a square like this.
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Next we're gonna go ahead and draw an angle line going back like that.
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And another one going back like that at about 45 degree angles
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and then we'll go ahead and connect those tops with a straight line like that.
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Then we'll go ahead and draw a line coming straight across like this.
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And like this
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we can go ahead and connect that just like that to make those triangles
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right in the middle draw basically the same thing we have over here on this side but we're gonna draw
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on the other side.
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Now you can do this with paper and pencil as well.
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Don't think that just because I'm drawn digitally that you also have to draw digitally
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All right now.
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Actually we could probably add a little bit more of a surface over here on this side like this
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just kind of get some more of a round geometric shape in because we show a little bit more of this side.
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That means that we have to shorten this side a little bit because if you remember when we rotate 30
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objects as one side becomes more apparent and more in view we have to squash the other side.
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So let's go on just kind of squash us a little bit.
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I'm just going to do that by drawing like that a little bit further in and then I'll just use my wrist
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and I'll just erase out the part that I don't want.
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All right.
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So yeah.
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So we have this pretty simple geometric shape it kind of resembles a sphere.
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The reason why we've done this is because we want to rather than thinking of a sphere where it's all
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round surfaces all the way around our sphere we want to think of it more as flat plains because flat
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plains are really easy to light.
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They typically only have one value on them.
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So let's go ahead and let's add some values to this.
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Go ahead and enlarge it a little bit just so you guys can see it a little bit better
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great.
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And we can go ahead and bring the value down a little bit.
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Just make sure if you're drawing with some paper with paper with paper and pencil that you don't draw
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too darkly for this outline.
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All right.
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So next we need to decide where our light source is coming from.
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So in this case we're gonna have a light source coming from kind of in front of it or actually let's
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just have it kind of coming from the side.
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So something like this so you can see that by representing it with a cone it makes it a lot easier to
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understand where that light source is coming from.
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So what we know is that the light source coming this way and it's going to be hitting that surface and
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there'll be a bunch of light rays coming off in that same direction.
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And so we know that this surface right here is going to be getting hit with the most light.
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So what we want to do is you want to consider this our white area.
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So if our shape or form here was white so white would be zero on our value scale.
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This part right here is going to be the brightest part so we're going to make that white next building
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off of that.
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We can start to understand where our shadows are going to be and where dark shadows are gonna be and
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where lighter shadows are going to be.
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So basically on the opposite side this surface right here on the opposite side behind the object would
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be the Dark Horse area so we could say that would be black if we wanted to but we can't actually see
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it.
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So it's not this guy right here.
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It's actually behind it.
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So we can't see that.
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So we don't have to actually color that in.
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But so basically the lightest part's gonna be there the darkest part will be on the backside behind
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this form.
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And so we need to use that information toward advantage.
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So a lot of new layer.
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And let's go ahead and let's start with the lightest values next to the White.
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So I'll go ahead and select that color my brushes and the lightest areas are going to be on either side
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of the white part.
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So these surfaces right here they won't be as bright as the white area but they'll be getting a little
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bit of shadow on them next.
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Let's go ahead and do the next brightest part.
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So the next Bird's part would be this surface right here.
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So we can go ahead and paint that in with this same light gray.
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Now if using paper and pencil you'd basically just shade this in the way you normally would.
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So just using the pressure to control the lightness or darkness of the pencil next let's go ahead and
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do the next darkest ones of the next dark this one is going to be these ones right here.
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So go ahead select this next dark color
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and I'll paint those too in
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this doesn't have to look perfect.
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This is just for your understanding so don't get all hung up on this painting or there's a drawing because
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it's not that important that it looks super good.
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It's more about just understanding how each plane has a different value based off of how much light
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or shadow is on it.
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All right.
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Next we're gonna go ahead and move on to our next dance value which will be number three and we'll go
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ahead and we'll paint in this bottom area so you kind of see a pattern you see that it goes from light
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to on the sides of it it's a little bit darker and it does the same thing down here.
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So once we go from white we go to this sort of slightly darker gray and then on the sides it's gonna
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be darker than this one right here.
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And it's just all based off of where our light is coming from this is on the underside right here where
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I'm painting in.
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And the reason why it's darker is because not very much light is going to be hitting it because it's
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on the underside of where the light sources.
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So it's all going to be in shadow
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then we'll go ahead and select our next darkness value
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to be that one
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and actually I just realized I made a mistake and the mistake is that I should have moved this value
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here to there.
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But instead I moved to a darker value so I get to go ahead and undo that.
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Just going to select this value and I'll just paint that down here in the bottom
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then I'll go back and I'll reflect that value that I accidentally painted and that should be on the
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sides.
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All right great.
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So next as we start to move around this way the value should also darken because it's getting around
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to the other side of the sphere or this form so less light will be hitting that dark and a
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now up here in this top surface We might actually get the same value just because the light source kind
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of from above some of those light raised might kind of bounce around and get up here.
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So we'll keep this kind of lighter than
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then we'll go ahead and select our next dark value which would be for go ahead and paint in this little
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area right here
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and if we wanted to we could even go ahead and kind of paint in a cash shadow
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something like that doesn't have to be perfect looking
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but there you go.
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So they're just kind of a basic form of geometric form where we can decide what the highlight or shadow
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is going gonna be on each plane or each flat surface of this form.
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And this is a good way to visualize in your head what the lighting is going to look like on your object.
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So if we were to go ahead and paint this as let's say a sphere.
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So what we would do is we basically be blending all of this together in a way it gets a little bit more
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rounded and complicated in here but you'll see what I mean.
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So let's go ahead and let's paint or draw one really quick.
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So go ahead just grab some gray sketch show circle like that and I'm gonna go and just fill that in
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some just filling that in with kind of a mid tone Gray.
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See it's about that color.
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All right.
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So this is gonna be our mid tone.
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I can go ahead and I can grab this lighter gray and that can be it's one of my highlight up here on
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my lighter area and if I wanted to I could even grab some white
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and paint in groups and bring that opacity back up paint in a highlight like that.
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I'll make that a little bit smaller like that.
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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
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of paint in the core shadow
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and I'll grab this darkest color and I'll just kind of fill it in like this now because this is round
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we kind of get this bounce light a little bit more prominent which is just this lighter area right here
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on the underside of the sphere.
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Yeah.
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And if we wanted to we could go ahead and blend all this and a little bit better not using a very good
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brush for blending.
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It's kind of more like a pencil brush but should be getting the idea so we can blend that end scene
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with up here.
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Something like that.
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Right.
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And so these are kind of the same basic values and they're kind of lit in the same areas as we have
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over here on this sort of more geometric sized sphere.
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I don't know you would call that but but you can see how we can kind of translate this into that because
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all of our lighting is kind of in the same areas.
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So when it comes to doing characters it's going to get a little bit more complicated.
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So let's go ahead and let's talk about that.
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So if we're drawing a character typically you're going to break down the face and the flat plains as
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well.
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And this is more in your head.
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You don't have to really draw this every time you draw character but let's say for example let's go
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ahead and draw in sort of a shape like that.
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So it's kind of a stretched out rotated diamond I guess you could say and let's go ahead draw another
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one right here
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and I'm leaving about this enough distance that another diamond could fit in there.
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Because what these are representing are the plains of the inside of our eye sockets.
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So you'll see what I mean here in a second.
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Let's go ahead and add the bridge of the nose.
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So I'm gonna go ahead draw a line kind of coming down at that angle.
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So a little bit more angled that way than this first line that I'm basing it off of.
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And then I'll go ahead and do the same thing over here and that'll angle in towards itself.
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Can you draw a straight line there and they're using our race or we can just go ahead and erase it.
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So remember if you're drawing with paper and pencil just always draw lightly until you're ready to finalize
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your lines.
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All right.
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So we have eye socket and eye socket.
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So one and two and then we have the bridge of our nose next.
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Let's go ahead and draw out our nose.
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We're just gonna kind of draw a trapezoid shape coming out like this.
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And this will be kind of a three quarters view of a head just so we have a better idea of what's going
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on here and then I'll angle that back like this.
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Now if your proportions are correct while you're drawing this that's totally fine.
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We're not trying to master the facial proportions right now.
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Right now we're just focusing on understanding the flat plains of the face so you can see a draw triangle
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coming off like that and then drawing a line coming up like this.
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And we want to kind of create another trapezoid right here and then connect it.
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So now we kind of have a geometric representation of the nose and the eye sockets and we can connect
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from right here from the top of the nose right into the eye socket like that.
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Next let's go ahead and do the cheekbones so go and draw a line coming off like this and a line coming
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off like that and this is just going to represent kind of my chin like that just a rectangular shape
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and we can make this a little bit more complex or even more simple if we want but this is somewhere
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in the middle.
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So we're just gonna keep this one kind of flat plain going across or like that.
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Next let's go through the cheekbone.
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So the cheekbone is gonna come across like this.
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It's kind of starting at the corner there I'm moving down like that.
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We'll do the same thing on the other side because the angle we're looking at the head it's going to
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kind of go more like that.
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And actually what we can do is it should be a little bit more angled outwards so when I go Honey races
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I'm going to add a little bit more structure to them.
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So these will still be flat plains but the edges will be more like this.
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So line coming almost straight down and then over.
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Same with on the other side.
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Just so we kind of get that cheekbone protruding out a little bit more.
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All right.
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Next let's go ahead and let's kind of add in a jaw
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that will be one big flat plain as well.
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We kind of get back here then we can hit a different flat plane like that.
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Then we get the side of the head so kind of the cranium we get the fore head and then we can kind of
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just go ahead and let's just round this out because we have an idea of how to light a sphere so we can
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just kind of draw on a sphere like that around line
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Let's go ahead let's do that year so I'm just going to kind of represent it with a squashed cylinder
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so add an edge to that
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and then for the neck we could just represent that with kind of a rectangular sort of form like that
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all right.
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Great.
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So now let's go ahead and let's start filling these in with some shading.
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So first we need to decide where our light source is coming from.
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So in this case we're gonna have it kind of coming from above like this.
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I have to draw it over there because otherwise you're going to see it on top of that very well.
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But just remember that basically the light source has a bunch of rays coming across like this.
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This is something like the sunlight or it's very big.
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And so we have these rays of light that are gonna shoot across our object all the way across.
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All right.
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So now that we know that we know that we want to identify probably our lightest areas or highlighted
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areas will represent these with white.
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So if the light source coming this way it's going to be hitting the fore head.
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It's going to be hitting the middle of the nose is going to be hitting the cheekbones.
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Let's see.
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That's about all the plays that's going to be directly hitting.
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So we can go ahead and leave those white next.
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Let's go ahead and let's figure out where the dark series are gonna be.
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So the underside of the eye sockets here and the underside of the nose are going to be pretty dark because
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those are eight facing pretty opposite from the light source so we can go ahead.
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Let's grab let's say let's grab a four.
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I want to go ahead and light this up
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and we can go ahead and fill that in now with that number for value we might come back and change that
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but this just to give you an idea that the darkest areas on your character when you're lighting them
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are probably going to be in the eye socket area or above the eye at least.
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And underneath the nose and also a lot of times you get a pretty dark shadow underneath the bottom lip.
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But in this case we're not gonna be representing the lip because we're just trying to keep this as simple
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as possible.
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Now based off of this we know that the bridge of the nose right here is angled downwards kind of a little
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bit ways from the light source but not as much as the inside of the eye socket.
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So we can use something a little bit lighter so let's use the number one go and fill it in like that
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and then we can go ahead and use the same green fill in the side of the nose because that is facing
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away from the light source just a little bit but it's still going to be getting hit by a lot of the
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light because it's not facing directly opposite from the light source.
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This underside where the nose and the eye socket connect right there that's going to be a mix in between
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the two.
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So let's go ahead let's grab the three value and let's go out and fill that in just like that.
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Leave our cheekbones white.
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We can fill in the underside of this nose and since it's moving off to the side and the side of the
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nose is gonna be a little bit darker we can go ahead and grab a number five to darken that part of the
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nose in
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and then this surface right here isn't necessarily directly facing the light source if it was to be
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more like that but instead it's kind of a little bit more vertical and just straight up and down so
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we can just keep that a little bit of a darker value.
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So just go ahead and grab the number one value and I'll paint that in
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and then the sides of the cheekbones or the jaw those are going to be a little bit darker because they're
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moving off to the side because our light source is kind of heading directly in the middle of the face.
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Anything that's kind of rolling around the side of the head is gonna become darker and darker as it
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moves all the way to the backside which is where our darkest shadows would be.
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So we can go ahead.
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Let's select.
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Let's go and select a to fill that in with the two woops
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do the same thing on the other side
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and then this is going to be facing even more away from our light source that's even more on the side.
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So I'm going to go ahead and select an even darker value so select three can go and paint this side
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and with a three
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and this right here is basically going to be the same.
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So go ahead fill that plane in as well with the same
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and then we get the underscore or we get this neck.
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And so we're gonna get what's called a cash shadow.
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So let's go ahead and let's paint in a cash shadow.
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I'm going to use a darker value cash.
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Cash shadows tend to be pretty dark.
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So go ahead paint that in.
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It's going to kind of mimic the same shape as the jaw lines.
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You kind of get this going on right here.
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And this side of the head will just be that same value.
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So just shade all that and dark
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now other places will where we'll probably be getting cash out of is right underneath this nose like
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that and probably a little bit on the upper part of the cheekbone like that.
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All right next.
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Let's go ahead.
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We can paint in this year now so many use since it's kind of more vertical and flat and not necessarily
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angled upwards towards my light source.
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I'm gonna go ahead and use the same light Graves using before and I'll just kind of paint in the front
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surface of that and then the side surface can be more of this color and as it curves around to the top
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where the light source might be hitting it a little bit more I can go ahead and lighten that up a little
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bit so I'll go ahead and grab a lighter value and added in right there and then grab another lighter
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value so maybe something like this I'll pay in the top like that and as it curves around to the bottom
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it'll get a little bit darker so I'll add a little bit of a darker value down towards the bottom
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that.
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All right.
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And then also since his neck is also in that same sort of facing forward position as this part of the
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mouth I'll use that same value to paint in the bottom of the neck.
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Right there
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and then the head is just basically a sphere.
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And so this whole area is getting hit by light pretty well.
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So we'll just keep that all nice and white.
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And then as it begins to curve around the head back here it's going to start fading into more of this
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lighter gray
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which is then going to fade into an even darker gray
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and then that's going to fade into a darker gray and we'll kind of start trying to blend these together
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a little bit this lecture isn't really about blending in with paper and pencil or with digital medium.
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So I'm not going to focus too much on the blending I kind of actually want to see where the change in
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the values are.
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So there we go.
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And you'd probably get a little bit of a cash flow coming over onto the ear like this yes.
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So there's just kind of a basic head form where we've figured out where the lightest parts are going
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to be in the darkest parts is gonna be based off their flat plain forms and then from here you can blend
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this all together on the edges and make it look more smooth rounded and just more organic.
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Also another thing is if you want to go ahead and add in a cash out it you could do that if you wanted.
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So since lights were going that way the cash out would kind of be going off like that
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at a round shape.
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So it's kind of the shape of the head and you're great.
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So it's not an amazing painting or anything by any means but it gets the idea across that basically
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when we're shading in a character's face we want to think of the flat plains and what sort of general
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angle is that plane.
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Because if we know what that plane is angled at in relationship to our light source then we know whether
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it's gonna be lighter or darker.
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So just always remember things that are facing away or hidden from the light source are going to be
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very dark and in shadow and things that are directly facing towards that light source are gonna be the
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lightest and brightest parts of your character.
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So let's go ahead and just really quick I just want to kind of sketch out a simple character.
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This might not turn out super well but it's just for demonstration purposes.
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So when we're drawing character we might not even just draw them out as geometric shapes usually won't
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but are geometric forms that is with flat plains.
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But if you're drawing a character you might think of it more organically but still it will help if we
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can think about it as three forms and which direction is that plane facing from our light source.
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So if I go ahead and draw a kind of two circles like this to represent my character's eyes and then
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I can go ahead and kind of do an oval coming off of that to represent kind of like the underside of
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the brow
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like that.
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So basically my eyebrows would be at the top of this sort of shape or form right.
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And then I could go ahead and think of the nose as kind of a rounded object like this sphere
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right
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and then I can think of the bottom part of the face is kind of like a big oval sort of shape but this
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is three dimensional obviously I can think the top of the head as kind of a sphere that right.
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And all these can kind of be smoothed into each other but by having an understanding of these three
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forms and thinking about their flat plains you can imagine that the inside of the island is kind of
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going out like this right.
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The nose is kind of curving around like that and the underside of the nose is kind of doing this thing
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right there
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right.
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And so and then we can go ahead and kind of add some grid lines to represent the roundness of the eyes.
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Right.
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And so by understanding these forms we can kind of visualize those flat plains.
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So if our light source is coming from above let's say like this
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well then we know that most likely to go ahead and lay this up.
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Most likely the darkest part is going to be on the underside of this brow.
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And that's not to say that you have to make it this dark.
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It's just probably going to be the dark is part sometimes you might not want to add this.
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Sometimes the style ization of your character calls for not adding a dark shadow above the eye.
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But if you want to shading your characters realistically above the eye is going to be the darkest part
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and then the underside of the nose.
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And that will probably cause cast shadow a little bit.
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Right.
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And then the underside of the chin and the cheekbones.
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That's going to get some shading as well.
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You'll also get a little bit of shading on the underside of the eye because it's around so the underside
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of it will be a little bit in shadow
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right.
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So it's not a great drawing but I'm just trying to get you to understand that by understanding where
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your light source is what the plains of your form is whether it's of a character or an object if you
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understand what those flat plains are in general you're going to know whether it should be light or
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dark in that area.
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And then once you know that then you can just kind of smooth altogether blended together shaded and
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softly to create that more natural realistic look.
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All right.
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That brings us to the end of this lecture where we've gone over the basics of shading your character
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designs.
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Thanks for watching and I'll see you in the next one.
37169
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