So here, I'm going to choose another design that is not as simple and it's a little bit more of a Disney
kind of approach, and to start with that, I'm going to split even the face in two parts and the upper
part of the face.
I'm going to draw a larger sphere and the lower part of the face, I'm going to draw a smaller sphere.
Now, why is that?
Is because children, they have bigger four heads instead of the lower part of the face.
So that makes them look cuter if I exaggerate that part of the face and also give them a larger area
for the eyes.
So this is going to be the girl's head and I'm going to have a middle line going through the atmosphere
and another middle middle line going to the lower sphere.
And I'm going to form the cheeks here of this girl while still keeping in close because I want to have
the whole worked out first before I define the features.
And on this part of the sphere, on the upper part of the sphere, I'm going to draw the nose on the
upper part of the sphere are going to be the lower part of the eyes of the girl.
And I'm going to draw on eyes like that, like they're a little bit like almond eyes.
This is something.
And that make the girls look very female like their almond eyes, and they're very known in this new
designs and it opens up their faces.
I mean, we do have our eyes because the lower part of our eyes is always a little lower than the ending
of our eyes and exaggerating.
It makes it look even better.
It makes our eyes look bigger.
And I'm going to have the mouth somewhere here and the cheek.
And this girl is going to be looking at us.
I'm just going to define what her pupils are going to be and now I'm going to draw her her body.
So to draw her body, I'm going to put her neck first.
I'm talking more about how to design human characters in my lecture of designing good humans.
So here, I'm going to give you just a brief example, because here we are working with the whole illustration
process.
And, of course, the character design is a part of it.
So you need to have that part, too.
And so I'm going to have her design her body by loosely trying to place her shoulders, her lower part,
using both spheres and, uh, and lines.
And I'm not going to draw anything concrete before I see where everything is, because this it changes
all the time.
I can move things around.
I don't necessarily know exactly what everything is.
I'm playing with the shape.
I'm going to have her upper part here.
The shoulders here is the spine here on the hips.
She's going to look like more of a brave little girl and she's going to be rather photorealistic.
So I'm going to draw her legs here.
They're going to end over here and the other leg and she's going to end over here.
So.
This is basically the proportions, this is how you work with proportions all together, if you find
this too difficult, don't worry, you'll get used to it.
It's all about training, exercising, drawing more.
And I'm going to draw her arms again as a stick figure.
And as a rule of thumb, the elbow is almost where the waistline is.
So if the elbow ends here and this line has to be exactly the same as the lower part of the arm.
So I'm going to measure approximately and it usually ends in the middle of the thigh.
So this is going to be the arm of our riding hood.
And I'm going to see approximately where this arm ends by defining you.
Where is this point with this point?
But here we have perspective change because she is going to bend her arm so you can just follow this
instruction for now.
You don't need to know more.
And this is the other arm and now the knee and here are around the hips.
But her body is actually ending here.
If you are to draw a sphere and this leg, this part of the leg has to be exactly the same as this part.
So her knees are going to be approximately here.
Now, I'm not measuring them completely.
I'm just eyeballing them.
So you don't have to be super precise.
And if you are if you let your your feeling guide you, then you'll get even a different kind of design.
I mean, you don't have to be super precise about everything in the sake for the sake of your design.
And I'm going to give her a rather realistic fit as well.
And I like smaller thighs.
She's still a little girl, and I'm going to draw her her dress and her dress is going to be a model,
have this kind of design.
It's kind of cool.
This is something I'm just thinking of because I've read Red Riding Hood and I imagine how she would
look like for you.
Maybe she could look differently.
But this is my impression of Red Riding Hood and what she's wearing.
So I'm going to give her this these clothes or maybe even I'm going to give her a long sleeve, long
sleeved dress.
And the other arm is on her eye is on her hips, but we don't see it because the dress is of that model
that we don't see it.
A really nice, cute dress of this old fashioned style.
You can see these dresses anymore on children.
They have cool clothes, they have jeans and they have a while.
They do have hoods.
Right.
So there is possible Red Riding Hood.
Those are going to be white, um, black or something for the kids now are cool.
Right.
But for that time, she was cool and she was brave little girl.
So I'm just going to give her boots as well.
She's going to be a little cool in my design as well, and I'm going to even make her.
Needs a little more stylized, I'm still just trying to find her features, I'm not too worried and
everything this can change later on when I pick a design right now, I'm playing with the shapes.
I'm playing with what I know about the design and what I know about this character, how I've seen her
in my imagination.
I'm just taking into consideration different aspects of just the cultural part, the anatomical part
of the stylish part, stylization part.
And I'm just trying to find the character.
This is the this is the process.
There is no difference, no matter how much training you've had in drawing.
This is the process of how you find the character.
You start with messing around with different characters and you try to find the right character.
And now I'm going to give her some long hair.
Ponytail's, I'm going to give her ponytail's because she feels cold to me, so ponytail's will make
her even more.
Even cooler, just a completely new design.
And I'm going to give her the red hold on top of it.
Uh, like it, that it's going to be on the back, I'm just going to signify the red hood with another
color, with thicker lines.
And.
Chunk of hair.
And her pupils.
And her mouth.
And now let's go with the black pencil and see how our character looks like actually when we know where
the shapes are.
And I'm going to start from the ice to give him some expression.
Eyebrow's.
I'm going to let chunks of her hair fall fall down.
On both sides framing her face.
And also, when you design, you can just give them a nice expression, because these are your main
characters, this is the hero or the heroine of of your movie, of your book.
A soldier has to look nice.
She has to look appealing from the get go.
And just draw some.
Eyebrows, no, here you can have problem with the eyes again, but don't worry about that.
You'll get used to it.
And this is just a design.
You're going to explore the design in the later phase.
So just follow the steps.
You can reduce this design later on.
Again, I'm going to give her some lip syncing.
Does it look good?
Well, maybe not.
I can take it away later on.
I like that design actually without the lips, but now I draw them in this exploration phase.
So now I know that I don't want them on the later stage and I'm going to round this I up.
You never you never draw a perfect design from the first sketch or very rarely when you find some design,
you need to redraw the couple of times.
To be able to find the real design.
And let's draw her hold.
Here, let's draw first her arms and the dress, of course.
I mean, she looks like a brave little girl, like she doesn't look as someone that can be tricked from
the walls, but also she's very nice and trustworthy.
So that's how the world managed to trick her.
If you know the story, I don't want to spoil it for you, if you haven't read it or you haven't heard
it so much, if you're older than you probably heard it.
But if you're younger, maybe you haven't.
So have your parents read it for you?
I know that.
There are all kinds of different people that are enjoying the courses, I'm very glad for that, very
grateful that you're enjoying the courses and I hope you are having a lot of fun because that's the
most important.
I am having fun doing these courses because I'm drawing.
And that's what I used to do when I was very little.
And when I'm not very little.
So I keep on doing it.
So this is for life.
And I hope you're enjoying it because if you do enjoy it, you will have fun for life.
This is something to look forward to.
And the more you draw, the better you will get.
The more fun you will have and basically you will never, ever grow old.
You always think and do as little kids as your work when you were kids and the things that parents used
to say, like, wow, you're drawing now, but when you get older and you have all these problems.
Wow.
Well, you know what?
Um, that never grows old.
You keep on drawing.
And, um, if you're here, you probably want to make a living out of it, which is something that you
should do because you don't involved in drawing Courcelles without having passion for it.
And if you have the passion for it, you have everything you need to make it your living.
And then you will never have a working day of working day in your life, it's going to be fun every
day and even you can go on vacation, you long for going back to work?
Well, actually, you will be drawing on your vacation, so don't worry about that.
And so here we have our other Red Riding Hood and now we have four different characters from our four
or Red Riding Hood.
And you can see which one you prefer.
You can do a couple more designs using this approach or approach or you can choose.
One of these characters and enhance their features to see what you like the most.
But this is an endless process and you can continue it forever.
But now we can choose two of these designs and do different illustration, take on them to see that
with each design follows a certain style.
So that is applied to the other character and to the environment they're in and also to the way your
drawing and painting later on the whole illustration.
So let's choose one simple design, like, for example, this design and one more complex design.
This design.
And let's turn them into illustrations.
First of all, we need to you choose these characters.
We need to also explore their personality.
To do that, we need to sketch them in many places to see how they look like or how they behave in different
poses.
So let's start with this character and explore her personality and how she moves in the next section
of our course and know more about her and how to how we can draw her.
So I'll see you there.