All language subtitles for 095 Realistic Character Design Demo.en

Hi and welcome to this lecture on designing character from start to finish.

So we've already done one character in the course or took you from the very beginning process so starting

with sketches concepts stuff like that all the way to the finish colored product.

So we gonna do the same thing again because it's really good to learn from other people and from watching

them.

So that's why I wanted to do a few of these lectures that are really long and they're just kind of packed

with a lot of information and knowledge and just also you being able to watch me do what I do.

So in this lecture we're actually gonna be doing a little bit more of a realistic character design.

Let's go ahead and let's get started before we get started.

Let's go ahead and let's kind of break down character design into its essence.

So if you remember I talked a lot about story and how important that is.

That's our main focal point when it comes out character design is story.

Who are they where are they from.

You have to have this character behind me from The Last Lecture.

She's a dragon slayer.

We kind of built up a little bit of a backstory.

Her costume her facial expression all that it all really tells a lot about her and her story.

And so that's what we really want to focus on.

So the first thing is story you need to kind of figure out a story.

I don't have the storyline for my character developed yet.

And so this whole lecture just like the last one is going to be me going from no idea to a finished

product.

And I think that's just really good for you as a student to actually see somebody go through that process

from beginning to end.

So I don't have a story yet but that's what I'm going to be searching for.

And the first part of this lecture is trying to figure out what my character's story is who they are

where they're from what their attitude is stuff like that.

And that just kind of ties into finding reference finding your color schemes I'm creating kind of a

mood board and putting all that stuff together to kind of get an idea of what you want your character

to feel like.

Now all of this reference you going to find it's not necessarily free to copy.

It's just so that you can have a good idea of who this character is kind of their colors their textures

their facial expressions.

So that's what we're gonna do first is let's start looking for reference in creating a mood board and

collecting that reference all in one spot so that we can look at it use it to inspire us as we're creating

our character and as we do that we're going to be thinking about what a character's story is where they're

from what little details can we add to their costumes stuff like that they're POWs.

All those things how can we add to it.

To help tell the story remember every single element of a character all the way down to whether their

fingernails are trimmed which most of them probably will be.

But even their fingernails being trimmed helps tell a story it tells you whether that person is either

well groomed or not.

So if you're doing some old haggling witch or something like that you probably would want to actually

have long fingernails or a monster or something like that.

So it all all goes into telling the story about your character.

So let's go ahead and let's start creating that mood board.

So I'm mostly going to be looking at places like Google and Pinterest and just doing searches for things

like female models it's gonna be another female character and doing searches for things like hairstyles

colors stuff like that just other artists artwork just anything that inspires me to create my character.

That's what I want to be looking for.

So here we go.

Okay great.

So there we go.

We have kind of a mood board going on it's not so much as a mood board as it's more or just kind of

some reference for me and it has a little bit of mood in there.

I could grab things like landscapes things that have color and I'm that kind of like tell the mood but

I haven't completely decided on what I want the mood to be.

But I do know that there's different aspects in all of these female photographs that I found here that

I like a lot of it has to do with the expressions and the eyes and the hairstyles.

So each one I picked for different reasons but I'm just going to be looking at this as I design my character

throughout the process but I'm not gonna necessarily be copying any of this.

The next step is gonna be to start doing really simple thumbnails and concept sketches before we do

that.

It's always important to warm up.

So let's go ahead and let's just warm up.

I'm gonna go ahead and turn off that folder with all my reference photos and we'll turn that back on

here in a minute.

What I want to do is I just want to start warming up.

And the reason why you want to warm up is because you want to get all your bad drawings and everything

out at the very beginning.

So go ahead and I'm going to change my color over to like a dark gray.

Let's grab a good brush and grab something a little bit more realistic like a pencil brush.

All right.

And then we can go ahead and we can just get to work and just start kind of doodling around our page.

There's not really anything about this that is super important.

It just gives us bad drawings out to get your hands moving.

It's like a warm up.

It's just like if you're going to workout or run a marathon you want to work.

You want to warm up before you do that.

So we want to make sure we do that every time before we draw a big drawing projects such as this.

So let's go ahead and get

succeeds.

It's nothing really great or special the warm up.

It's just it's really not good.

You know like some of your drawings might come out better than others when you warm up but you're not

really trying to aim for anything you're just trying to doodle.

So anything that comes to mind you can just kind of sketch it out like just the dumbest thing you can

think of.

You know like just sketch something completely ridiculous out like this right.

You don't have to worry about perspective or making sure that your form looks perfect that's not the

point of warming up.

It's just get your arm moving your brain kind of loosened up.

So it's really up to you how good you want your wall drawings to be or not.

All right.

Just something really kind of weird like that.

Keep it super loose and sketchy and sometimes you might even get really good ideas out of your warmups.

You know like maybe I could develop this into some sort of really weird character.

You know it's really up to you what you want to draw on your warm up so don't don't take it too seriously.

You don't need to have a focus or anything you're just trying to move that arm around.

So just focus on that when you're warming up.

Don't beat yourself up if you're trying to don't look good.

That's not the point of it.

And if you want another way you can warm up is you can look at some actual reference and do a drawing

or study of it.

So you could do anything from a portrait if you're gonna be doing a character if you're gonna be doing

a landscape then you might draw a study of a landscape anything like that might help you warm up a little

bit.

OK.

So now that we're nice and warmed up it's time to go ahead and start doing our concept sketches.

I'm going to go ahead and I'm going to start by doing a whole bunch of thumbnails and then I'll kind

of start doodling those into concept sketches and we'll go from there.

But at this phase we're just trying to play around with different ideas.

We don't need to make anything look super nice so it's basically like warming up.

The difference is that we have kind of more of a motivation.

So these were just kind of doodles.

They're just kind of coming out as I was drawing.

But in this case I kind of know a little bit more about what my character is I know she's gonna be a

female.

So we want to be making sure we're doing sketches of females obviously doing sketches of poses for that

character different facial expressions and just doing really tiny simple rough sketch.

So they can be this quality of both of these right here but they need to be more towards what it is

that your character is going to be.

So let's go ahead and let's begin on that.

OK.

So first off what I'm gonna do is I'm going to go ahead and I'm going to turn off this warm up layer

and turn my folder back on that has all of my photos in it.

Now if you're drawing with paper and pencil you can just create this computer your collage of images

and print them off or you could just look at them on your phone whoever you want to do it.

It doesn't have to be like this and you don't have to do this in Photoshop.

This can all be easily done with paper and pencil as well.

Once I get pulled up I'm just going to I want to be looking at this at the same time and so it'll be

easier for me if I can just kind of stretch this out a little bit you know add some more sketching room

and I'll just kind of sketch around these photos and start getting some rough ideas of what it is that

I want to make my character like.

All right.

So now I have a canvas with all of my reference photos on it so I can go ahead and I can just start

sketching that stuff out now as I start sketching this out.

I'm probably gonna come up with ideas different poses and things like that that I'm not even basing

off this reference so what I'll have to do is that I'm going to have to go out and I'm going to have

to find reference on the Internet or in books or wherever you find your reference I want to go out I

have to go out find reference that kind of matches the pose that I draw whatever that way I can make

my character look a little bit more accurate.

So let's go ahead and begin.

All right.

So we have these concept sketches slash thumbnails.

They're somewhere in between just super rough super simple.

You know look I mean the concept is there but they don't necessarily look good.

They don't look like a finished drawing or anything and that's the point of this.

So keep that in mind when you're going through this process of designing is it you want to start as

loose and rough as possible.

Don't beat yourself up if your designs don't look amazing.

This is all about just getting ideas out so they can just be basically stick figures or they can be

more detailed like this one up here or anywhere in between.

So just keep that in mind.

It's it's very much like warming up.

The only differences is that you're actually trying to explore concepts now of your character design.

Don't feel bad if your drawings don't look amazing.

Now I might do a few more of these.

But basically what happens is we go from this and we slowly start morphing into our finished design.

That's what we want to achieve.

So we don't just want to go straight into our final drawing or final painting.

We want to slowly take it from a rough drawings like this.

And then the next round we'll kind of take these concepts and kind of clean them up a little bit and

then the next round we'll start doing kind of more finished sketches and trying out different concepts

and we'll just kind of be taking stuff from these sketches that we just did here and applying them to

our more finalized sketches.

And that's going to be how we slowly refine our drawing to our final painting.

OK.

So at this point I'm kind of liking this design right there and that design right there.

Something about him that I like I like kind of this braid.

That's kind of whipping around on this character and I just kind of like the hair in this character.

I think it can work kind of more of a like a smirk into her facial expression.

I have to figure out a pose for her.

So what I would do is I'm gonna go ahead and I'll just go ahead and cut these out.

I also notice that I wrote a little note next to this one on the left that says longer pointing to a

braid.

Now just so I didn't forget that I wanted to try a version of her with longer braids.

You can do whatever you want.

You're doing your sketches.

You can add notes little diagrams whatever you need to do in order to really understand your concept

and help you try different versions of it.

I'm just going to cut these out.

Put them on a new layer.

Go ahead turn off these are the ones that are not necessarily a fan of.

I'm gonna go ahead and I'm to move these together.

Something like that and I'm going to go ahead and continue to do my sketches this time around to make

them a little bit more detailed.

So here we go.

All right.

So the sketch you just created.

I'm really liking the look of this.

It looks really nice.

I'll probably change a lot of things along the way but I think I'm actually gonna start going down this

road right here.

So I'm gonna I'm gonna skip doing anything with this braid here.

Now if you're designing your own character I do recommend that you definitely try a lot of different

options try a little bit more than what I'm doing here but this just so you can kind of see my process.

Typically if I was doing this for a client or something like that or my own real project where I needed

to design my own character I'd probably definitely go down the route.

This one single braid girl over here just to see what it looks like but just to kind of save a little

bit time on this lecture.

Let's go ahead and let's just go with this one right here.

Kind of sketch this out.

I don't know if this is what I want to be the final pose because she has some character in her face

tells all little a story and I can hardly exaggerate her expression a little bit more but I think I

want something a little bit more.

So what I'm going to do is I'm just going to kind of finish this out a little bit and detail it just

so I get an idea of what I want my character to look like because I know that this is kind of the look

I wanted to have this kind of face and stuff like that.

So I kind of get it to that point and then I might try drawing her in a few different other poses.

I kind of want to do one where she's really angry maybe she's closed her eyes and she's yelling or maybe

her eyes are open and she's yelling and maybe it's more of a three quarters view.

So we'll try all though.

So first off let's just go ahead and I want to finish up this sketch right here.

And so what I did is I just added a new layer.

I lowered the opacity on this layer just so it's a little bit lighter just kind of makes it my under

drawing and I'm going to go there on a new layer with black as my color.

So this if you do it with paper and pencil you basically just be using a darker pencil or pushing harder.

And I'm just going to go in there and I'm gonna start detailing this out.

So for example in her eyes I could just go ahead and I could just start kind of detailing out the eyebrows.

I mean the eyelashes sorry my eyelids Right

now I'm just going to start basically solidifying my sketch a little bit more so I'm going to continue

doing this and I'll see you when I'm done

ok cool.

So we have something cool going on here.

I like where this is going but there's still a lot of work to be done.

There's some things that just don't feel right yet and I'm not really super into repose.

It's pretty boring.

It's good to get the concept out to draw a straight on view but for a final painting I think I want

to do something where she's in a little bit more of an interesting pose a little bit more dynamic and

maybe add more expression to her face.

But I like the actual the hair design the face design stuff like that.

I think the costume design still needs some work and we really need to get in there on the details such

as the tattoos on her arms you really need to detail those out figure out what those actually are.

But I'm liking this.

I think it's looking pretty good.

So yeah the next step is I want to go ahead and take this drawing that I have here and I want to make

copies of it.

If you're drawing with paper and pencil you just have to kind of redraw the sketches over and over again

or draw in different poses or whatever but I'm just going to copy it a few times and I gonna to try

to change it up a little bit try some different renditions so different costumes maybe kind of add on

with a full body pose.

The reason why I added this sort of thing in her hair it hear me switch over to a better brush the reason

why I switched over or the reason why I added this straight thing in her hair is because we have a line

of action going like this and that braid and a line of action going like then that braid.

And I wanted to add some contrast going straight through those one at a straight line and that just

really helps with the composition.

So that's why I added that.

So go ahead and make these copies.

And before I do that it's actually really important that you take a break and you walk away from your

work and I feel like I'm kind of hitting a wall a little bit.

I don't know where to go with it from here.

So that's what I'm going to do I'm going to take a quick break and I'll be right back.

But you should take a break too in the middle of your character design processes and just come back

take a five minute break ten minute it can be an hour it could be an entire day it just depends on how

much time you have but it really helps to walk away and then come back look at it and you'll have more

ideas you'll look at it with new eyes and it just really helps.

To go ahead and take that break and I'll be right back.

OK.

So I'm back now.

I took a break and I actually took a day long break.

So like I said you can take as long as a break as you need or as however much time you have in mind

you might have time restraints that don't take a day long break if you have to get the thing done in

a day.

But I took a day long break I thought a whole bunch about this character design.

I looked at a lot of other art and reference pictures and I just thought about it and let it stew for

the entire day.

And this entire morning and now I think I have a few new ideas.

I think I kind of know where I want to go with it.

And I'm also thinking that I might just kind of limit this to just a portrait or maybe like an up or

bust concept painting just because it'll save on time a little bit and I don't want this lecture to

get too long digitally painting when you're going to do something real estate can take quite a bit of

time.

So I just kind of speed up the process a little bit by just focusing on her Boston.

So go ahead and start making copies of this and then I'll start kind of tweaking some things changing

some things about it trying out different ideas and then we'll go from there.

All right.

So there's three kind of new versions of this female character that I've been working on.

You will you probably saw me and just do a bunch different variations and trying to kind of sketch things

out and not just get rid of it and then just make a new copy.

So I tried a lot of different things and just kind of worked on it.

So I like different things about each one of these.

Now this is a good point to get some feedback from people.

So what I'm going to do the way I'm going to get feedback is I'm gonna go ahead and process in our Facebook

group for all the students in this course.

And I'm just gonna ask you guys what you guys think is the best one or what you like about him.

Get some feedback on my ask some friends family but it's always good to get some feedback get some outside

eyes to look at your piece and you don't always have to take their feedback.

Sometimes people won't know what they're talking about sometimes the feedback is just bad and sometimes

their feedback just doesn't coincide with your vision for your character.

So you don't have to take all their feedback but it is good just to hear from other people hear what

they think.

See if they can read your character well or what type of character they are where they're from.

All of this is really good.

So I'm gonna go ahead and get some feedback.

All right.

So I posted this on the Facebook group and I got my feedback.

Nobody really gave any constructive feedback necessarily but people did vote on which ones they like

best.

And I'm trying to design a character that's very appealing to a lot of people so I'm gonna go with the

ones that people like best.

But in this case they were all pretty evenly voted on.

I'd probably say that this one was voted on the least but only by a little bit.

And part of that might just be because I didn't have enough variation between them they're all they

all look like the same person they're all kind of the same.

So sometimes and you get feedback it's nice to give a bunch of options that are completely different.

Anyways I'm going to go ahead and I think I'm going to actually kind of take things from both these

I'm going to go with this one and this one and kind of mix them up a little bit.

I think this sort of face paint or face had to I don't know what it is exactly.

I think it's a bit much for the character so I'm really going to take things from this one such as her

earrings.

Stuff like that and I'm going to kind of apply it to this one over here and kind of combine their hairstyles

and also what I'm going to do next is I'm gonna paint some new kind of poses for these characters.

So for example I'm going to do one where she's yelling I think one like that might be kind of cool to

see and if I really like it I'll go ahead and finish it off and paint it and add color I'm also gonna

do another one where she's kind of her head is more to three quarters view so that way they're not just

a bunch of paintings of her just straight on.

So it's nice give variation in there and also just like when you're drawing a full body pose you want

it to look a little bit more dynamic in this pose is not necessarily bad.

It's good for concept but to tell a little bit more about the character might be a little bit better

to maybe try some in different head poses so many go ahead and do that.

And one last note before I begin.

Keep in mind that as I'm designing this I pulled up some reference of one of the girl yelling one of

the female with more of a three quarters head view and I'm looking at that on my second screen.

I hadn't put it on this screen just because it's a little bit easier for me to see on a second screen

because I can make it bigger but I'm looking at that reference and make sure that you're always looking

at reference especially the more realistic your character is to look the more reference you're probably

going to need to make sure you're looking at that reference and finding it and I'll see you when I'm

done.

All right.

So there we go there's two more concepts and kind of just kind of mix up the face had to is a little

bit tried a few different things and we have the yelling one right here and we have the other one that

is just kind of a three quarters view of her the facial expression on this one is pretty boring and

I could mess around with that a little bit more but I actually kind of like this one a little bit better

like the smirk on her face.

This one's really cool too but I don't think it really actually tells that much about my character.

If I was doing a comic book or something like that obvious if my character was yelling I'd want to do

some sort of facial expression like this but this character I think is gonna be a little bit less aggressive

in general.

And so I think I actually this one right here I'm going to go with that one I'm going to go ahead and

paint that one.

OK.

So the first step I'm going to take to add color to my character is I want to change the color of my

line are in my shading because black is not a very good color to blend or paint with.

And so if I leave it this way it's just going to muddy up all my colors.

So I want to start with a softer more skin tone natured color so the way to do this is if you're doing

this digitally I mean obviously if you're not doing it digitally it's a completely different process.

But just so you can kind of follow my process when I'm doing this digitally.

I would go ahead and I would merge my layers together and just create one solid layer for the character

drawing that I want to use.

She can see her I have one layer and then what I'm gonna do is I'm gonna go ahead and at a layer above

that and create a clipping layer mask.

And what that's gonna allow me to do is if I fill a color on this layer layer 17 which is my clipping

layer mask it's going to basically fill in anywhere that is clipped to this image here so you can see

there's a little arrow pointing down to it.

So if I go ahead and I click with my paint bucket tool and fill that in with my this red color I have

you can see that it changes all of my shading and line work to that color and if I wanted to control

the opacity of this to really lighten it up and I'll do that just a little bit I'll bring it down to

about let's say like 85 percent 86.

So now that we've softened our image up and we also kind of change the color of our line work now we

can go ahead and start painting.

So the first thing I'll do is I'm gonna go ahead to grab a brush and using this same color.

I want to go ahead enlarge it.

I want to bring my opacity down to about 30 percent.

And you can see that I can just kind of paint that in like.

And I think that's so even a little bit too dark.

So I wanna bring it down to 20 percent but go ahead and just fill this in.

All right.

And what this is gonna do is this is gonna kind of just give me a mid tone to paint on top of you could

do a couple of different layers of this.

So that way you're not just starting out with white you have kind of a darker sort of color there to

work off of another layer and just kind of break it up a little bit so it doesn't look as clean and

actually she should be doing this on a separate layer.

Go ahead and undo everything I just did not just do that on a new layer.

That's really important.

Got to make sure that when you're digitally painting that you tried to do everything on different layers

so that you can control them so you don't lock yourself into a certain look or if you don't like a layer.

So say for example you do highlights on one layer and get rid of those highlights without doing undoing

all the other work you did.

Right.

And this is just kind of a technique that traditional painters use.

Well go ahead and they'll take their painting and they'll do a wash on top of it.

And that allows their painting to start with a mid tone color.

So once we've done that we can go ahead and embrace it's going to bring in my brush size and we're gonna

race out pull this outside edge

right.

Great.

So there we go.

And we kind of have a darker color filling in our character sister mid tone and we'll add highlights

and shadows on top of that and are all kind of disappear in the end but it'll show through a little

bit.

Next let's go ahead and we can try doing some interesting things so we can try for example taking a

lasso tool and we can just kind of trace out the edge of our character

then we can have a new layer.

I'll go ahead and grab a darker version of this red color and we can grab something like an airbrush.

So

something like this and what we can do with this is we can go ahead and paint in just kind of fill in

some areas darker and just kind of see what we like digital painting is very much about experimenting

and trying different things.

So you can do anything you want you can delete layers

so I want to do as I want to kind of darken her body a little bit and these outside edges that just

her face kind of stands out a little bit more.

And obviously a lot of this is going to get painted over but this will kind of give us an interesting

base to start off with

and you can see that we're kind of left with this hard edge down here so what I'll do is I'll just go

ahead take my razor Maybe I'll switch it over to an airbrush race with that that we can get kind of

a gradient sort of increase work

that great that's looking pretty interesting I'm liking that and again this is all about experiment.

So we can try all different types things we want we can go ahead and add a new layer and I'm going to

go ahead and kind of switch back to this original red color so I can just color picker off her face.

Maybe I'll bring that over a little bit and we can try doing a color dodge layer so many fine color

dodge that's over here my layer modes and what you can do with that is you can see if I paint with that

color I can make things look like they're glowing.

It's gonna add some of that into her face maybe a little bit on her nose and we'll bring on my brush

size a little bit

maybe a little bit on our ears.

You can always come back and you race to lighten that up.

So if I just bring my razor capacity down to about 40 percent I can erase what I did down here on her

body just so it's not so intense but it's still there a little bit.

All right.

That's pretty cool looking kind of like where that's going.

So now that we kind of have this base going on here we have something to work off of.

We can go ahead and start adding in colors.

All right.

So the next thing I want to do is I want to start introducing some color.

So on a new layer to go ahead and start experimenting with that.

Now I want experiment with warm and cool colors so I'm going to grab kind of a purplish blue color.

Something kind of D saturated.

Not too crazy.

And I want to start painting that in on this new layer.

Let's switch over.

I'm going to use a round brush.

What I want to do is I'm gonna go ahead and change my setting so that the edges are a little bit softer.

And that's gonna allow me to kind of blend a little bit better.

Maybe I could soften it up even a little bit more than that brain down to about 80 percent.

So we get these nice soft edges and actually on a switch over to a pressure opacity 1 bring down the

softness again Yeah that looks good.

Bring down the softness of my edge a little bit more.

Great.

That's looking awesome.

And I'm just gonna go ahead and just kind of start painting that in I make sure that I don't paint over

her hair right.

And at this point everything is just really rough.

Just like with our drawing.

We want to just make things rough.

Now it's important to point out that when you're painting a character or even when you're doing your

final drawing nothing is more important than your under drawing you're under drawing is where you create

all your structure and make it look good and really work on the design of things once that design reads

and all your structure and everything looks good then it's okay to move on to more of a finished drawing

like this.

And then once you have that finished drawing done that will be a roadmap for painting.

So each part is sort of a layer in the process.

You want to make sure that you don't skip any of them or rush through them they're really important

because if this is a bad drawing or had a bad design then when I was painting it right now it wouldn't

it wouldn't do me any good even if I was an amazing painter.

If the structure is not there and the character and the stories in there it doesn't matter.

So remember to follow every single step I've taught you about character design.

Painting is just basically the cherry on top.

It's a very tip of the drawing fundamental pigment and the very tip of the painting.

Fundamental pyramid All right.

So that purples looking pretty cool like that.

Maybe I'll grab a little bit more of a dis saturated and white version of it and kind of paint a little

bit up here on top

and I'm actually going to soften up the edge of my brush even more than it is right now.

And again you can always bring down the opacity.

You can erase things a little bit.

So if I were to grab my razor I could kind of racists out so it wasn't so purple.

See that logo.

That's kind of cool.

All right.

Let's see.

Remember keep everything on different layers.

Next this go ahead.

I'm going to kind of start adding a little bit of shadow to her face.

So want to go ahead grab some of the dark color up here and maybe I'll make that a little bit more orange

so we kind of get more of a flesh tone going on in there.

That looks good.

We normally brush and also bring down the opacity of that brush so I can just paint a little bit lighter

maybe I'll actually try using the airbrush right now that might actually work a little bit better we'll

see how that looks.

Yeah I'm liking that a little bit better once you get towards the end you want to switch over to brushes

that have kind of more of a brush stroke

but to get those initial shadows and it's it's definitely okay to use an airbrush type of brush

and this is all just one big big experiment.

It may seem like I know exactly what I'm doing but to be completely honest I don't know exactly where

I'm going with this painting.

I obviously have experience.

I kind of know what I want to do in a good sense but I don't actually know the exact processes and steps

I'm going to take.

So like this shading I'm doing right now.

I don't even know if I love it.

It might have to go here in a second but keep going with it.

See what I think

what I'm trying to do is I'm mostly just trying to layer this color in here a little bit at a time.

You don't want to add it all in at once because you want to kind of make sure you like where it's going

before you continue on.

So just a very lightly layering that color and then checking it out.

That's pretty good looking.

Now let's go ahead and let's start bringing some of a flesh color into our skin tone so I'm gonna grab

kind of a peach color some like that.

All right.

Go ahead start painting that in

and you can see by adding that previous dark in like colors in here so that her face was a little bit

lighter and even still shows through with these colors.

So that's really nice

grab a little bit of yellow.

I think there needs to be a little bit of yellow in her face.

Something pretty light and very de saturated.

I'm just very lightly add some of that in there.

Then I'm gonna go ahead and add I'm gonna grab some pink and a little bit of pink in here as well.

You notice that when I paint with this airbrush it kind of makes everything look kind of hazy.

And that's good.

That's what we want.

We want to start to create very soft looking skin.

And even though the edges and everything kind of look kind of hazy it kind of looks like a like an 80s

high school picture.

Now with that I don't know.

They call it filter but where it's kind of like glowing good glow filter we're gonna come back and fix

it up by using brushes with harder edges and we'll clean up all the detail.

But for now we're really focusing on making sort of a soft look for the skin.

So we want to really bring that in there.

And we really don't want it.

We don't really want any white showing and that's for sure

and we want to play with that warm and cool color.

So what I'm to do is I'm gonna go ahead and grab some of a sort of purple colored dark saturated purple

and I can use a little bit of that kind of sheet and her face a little bit

all right so anywhere where we have these shadows we'll use that there and shaded in

a little bit of purple to her hair as well.

Oh man it the color her hair is not going to be purple but this will just add some interest when we

can introduce different colors into different parts of our painting.

It just makes it look a little bit more interesting

adding that purple in there will kind of add an undertone to her hair

had some underneath her nose and her mouth that may be a little bit less underneath her mouth.

All right.

That's looking pretty good.

I'm liking that.

Go ahead and grab some yellow maybe I'll add some yellow kind of to this outside edge over here.

That's looking pretty good.

So at this point we have this very airbrushed looking painting.

I think I actually want to bring a little bit more of an orange color into her skin so I grab some orange.

I want to do this on a completely different layer so I can really control the opacity and actually I'm

to grab kind of a little bit more of a peach color and I'm just gonna paint that and basically on top

of all of her skin.

So we really only want us in the skin areas and this looks really intense right now.

But I'm gonna go ahead to bring down the opacity here in a second to really tone it down.

Maybe I'll stay out of those shadow areas a little bit more

so I'm really just gonna add this to the highlighted areas.

I'm gonna go ahead and turn down my opacity now so that looks

so if I just turn that up a little bit adds a real sort of kick of that flesh shown in there.

And yeah you always wanna make sure that you get some cool colors in the skin tones because skin tones

are not just made out of warm colors are made out of all kinds of colors no matter what the skin tone

is whether it's really light or really dark you're gonna get all kinds of colors in there from blue

to green the purples you want to make sure that you lightly add some of that and then kind of blended

in together.

All right.

That's looking pretty good.

Next what I'm gonna do is I'm gonna go ahead and I'm gonna grab more of a painterly brush.

I have this watercolor brush that I really like to paint with anything that kind of looks like paint

strokes will work.

You can see if I paint within my opacity I'll add a new layer so you can see that you can see that this

is kind of more of a brush stroke type of painting.

That's exactly what I want to go ahead.

It's like this purple a d saturated a little bit more.

And what I want to do is I'm just gonna kind of start cleaning up my painting because this kind of has

a little bit more of a hard edge and so I can really start cleaning out the edges of my paint right.

And again I'm doing this on a separate layer so that way if I don't like it I can always change that.

Don't ever come especially when you're digitally painting don't ever commit always do things in separate

layers.

You can delete it if you want to.

You're going to darken this a little bit so I get kind of more of a shadow version

all right.

That's pretty good.

Now let's go ahead and let's start kind of committing some of the detail on here.

What I mean by that if you want to do this on a new layer so sever from my last layer grab some really

dark sort of brown colors and we're just gonna start kind of committing to some of this detail.

So for example the eyes

just kind of dark the island and like that do the same thing on the other side.

Seem at the bottom

then what kind of light in this Brown on a little bit.

You can start painting and the eyebrows

so start by kind of painting in some of those hairs and we're going to bring that together by filling

them in more.

Another thing we can do at this point is we can go ahead and start painting our eyes and so I think

I'm gonna give her green eyes.

I'm going to move to the layer below all this so that way it's kind of underneath this dark sort of

eyelash that I've added.

Let's see.

Let's find a cool looking green

see how this looks.

That might be a little bit too green.

I'm gonna go ahead and saturate that a little bit maybe bring it more towards the yellows.

I'm just kind of lightly paint that in

that I can go ahead and grab a darker version of this kind of paint the outside edge of my eye

paint over that highlight because I can always bring that back in

all right.

This is basically what the rest of my paint is going to consist of right now.

Looks kind of funny.

It's part of this because it's just really hard to focus while I'm talking so I'm gonna do is I'm gonna

kind of take some time to really work on this and I'll timelapse it and when we're done.

I'll kind of talk about it but I'm basically just going to start painting in some more detail like this.

I think the skin tones are looking pretty good.

The paint in that detail see how I like it.

Experiment change things and I'll see you when I'm done.

So there we go.

We just completed this character design.

Kind of looking like a Sith Star Wars or something with those yellow eyes but you might have seen while

I was painting I start out with kind of a green look.

I changed that layer type 2.

I don't remember what it was I think it colored dodge or something like that but it changed it to yellow

looking and I actually really liked that.

So I just stuck with it and I kind of touched it up and painted it a little bit better but yeah so it's

really just a matter of like working the colors but really what you want is you want some contrasting

colors and you want some contrasting colors in the way where you want opposite.

So for example we have warm colors and we have cool colors so we have the cooler costume we have the

warmth of her skin tone her hair her eyes and this could probably be taken even further but I'm just

gonna leave it kind of at.

This just sort of a concept painting.

This wouldn't be necessarily a completely finished piece of artwork that maybe you would see on the

cover of a game like a game box or something like that or graphic novel you might want to polish it

up a little bit more than this.

So thanks for joining me on this process and I look forward to seeing you in the next one.