OK so now we're going to do is implement what we've learned so we've you know went through a series
of exercises and different things to know about creature design.
But then it comes to a part where you know a client gives you a script or something to work from and
you've got to make something happen so it's all great when we're drawn from our own imagination.
But we've got to be able to take what somebody else gives us and make something of it.
So this will be our project file and essentially here we're just going to read this script so quick
and forgive me if there's any you know hard to read areas or anything like that or understand.
I'll also be supplying this so that if you can't make it out as well on here.
But essentially Oger barbarian holding a large club with spikes Swank's some tribal clothing reps from
lots of battle.
One of the arms should be slightly larger than the other the other one holding the weapon or the one
holding the weapon two arms two legs legs should be shorter and have more upper body.
So a lot of this is traditional of an ogre obviously.
But I just wanted to give you an idea of how a client might word it had better descriptions than this
and I've had.
Definitely a lot worse.
And you just have to make sense of it.
Muscular build but with a large cut her belly deformed head with one eye I should be downward pointed.
Our ears should be pointed but with a downward turn to them forgive him can't read my own script or
some for spots around the neck and waste clothing that grown you know.
And like an area like that I just want to point out that's the part where if you're like well what does
that mean clothing that grown.
I find that to be pretty informative or understandable but if you don't that's when you call the client.
I really want to stress that there's not a lot of projects where you can really save yourself a lot
of heartache if you just pick up the phone or e-mail or whatever you use for correspondence but never
hesitate they're always cleared up in the very beginning.
Just just want to get that across.
Spots of hair on the chest some forms lots of scars from battle wounds.
Usual style we've seen your profile and I like your work.
Just make sure it looks formidable.
Now that bottom part I also want to point out I got to be really careful with that as well.
I purposely do that and because I've had that said to me and it's OK but you really want to nail down
if you can direct them to a certain piece in your portfolio.
It gives you a lot better understanding of what they mean.
So you really want to clear up any misconceptions in the script and the ideas and correspondents it
can really save you a bunch of time.
Now the other part is that thumb nailing will save you and that's why we talked about that earlier in
this course.
So essentially if you take this and say OK what does this mean to me and I'll just start scribbling.
What kind of visualization I'm getting from this.
So I you know kind of a lumpy head.
You know I start there you know.
I drop in some forms ogre's to me are always kind of this hunchback kind of presence you know and it
really depends.
You can go a lot of different ways with ogre's obviously they are very broad spectrum.
And the way you could create them.
And but you know like it said a very large arm one holding the club.
So I'll just make one arm immediately larger maybe the left might switch it.
And ping and how I figure out I want the club to be held and then you know a big belly you know but
obviously muscular and the other areas one I suppose just kind of throw something in there doesn't mean
it needs to be the way that it is right here by any means just kind of playing with ideas.
They usually have a pretty you know stout little nose in the script downward turn ears.
You know something like this you know didn't say anything about the teeth but I like to always throw
these in there so you're going to make some choices again.
You know that's kind of where you rely on the part at the bottom to us as well.
Like your style where like what you do so then you're going to have a little.
That means you've got a little bit of creative freedom in there.
So you're going to implement some of the things that you think just look good.
But but if you thumbnail if you don't spend too much time in this portion of it then you can eliminate
any of the guesswork.
You can do that back and forth with the client and then figure out OK were my ideas on point.
Did they have a lot different idea going into this thing.
What needs to be changed.
So what I'm going to do here is get in just to make larger forms.
Now keep in mind with thumbnails I would typically be working on them about like this in the very beginning.
Ok that's why they're called thumbnails are generally very small.
Now the only reason I'm not doing that right here is I want to make sure you can really see what's going
on.
So for the videos purpose I work on them larger but I'm still making sure I'll kind of pick something
middle of the road because I think you should be able to see it right about here but I'm still picking
something that's loose and description very rough.
You know I'm not I'm not refining yet.
In fact I'm still trying to figure out what I'm holding in that club.
So that's the bottom part of the legs I want to do a little bit where they kind of slope back and he's
got these bigger feet and I feel like the legs are still too tall.
So again by scribbling this information and I can make these changes and not waste and absorbing the
amount of time.
So that's really the power of thumb nailing.
Now there's lots of things as the fact that you get and I'm probably going to be redundant here but
that you get more expressive linework when you thumbnail.
Just like when you do a gesture to figure drawing study it's that's where all the power and the energy
is.
Now this one looks pretty plain jane so I'm going to at least do one or two more and pick from those
and maybe combine ideas.
That's the other neat thing is you're able to really maximize your efforts and say OK I really like
what I did here with the head but then I like the other one how you know we'll see what presents itself.
But you were able to pick different ideas from those.
So that said little bit of fur here and there a little bit of torn clothing still trying to figure out
where to apply that.
But you know something that could just be a bit of a caveman overlap it doesn't have to be anything
too dramatic in fact I always tend to whenever I do get a script from somebody I tend to err on the
side of less as more and let them direct me.
If not I might throw in a bunch of confusing bits of information and it may just slow down the entire
process anyways.
But your thumbnails can convey a lot of information.
I've seen really great thumbnails from other artists and I've had people love the rough sketches that
I've sent them and in my mind I'm thinking I just probably didn't spend a whole lot of time there but
it really starts that creative function of that process and people are just enthralled with that I mean
as artists we love the creative process so when you bring other people into that with you.
They're they're inspired and it's fun for them as well so it all starts here.
So we'll do bigger feet kind of bigger toes I want to bring those knees up and put more band to play.
I still feel like they're too big so I'll just keep nudging those around and I might just fix that in
the next sketch.
I'll do kind of this offset stance or whatever.
And then I still need to get that big arm in and pull so I think I want to do it over here and just
try something like this and bring that in front of them.
Or maybe you know we can try try one where he's just kind of dragging it behind him.
Should be more fun anyways so let's try something like that.
So you say just use a really big nasty brush and just throw that in there some spikes.
Again nothing too descriptive.
Just loosen you know pretty much already on the realm of where I need to hurry up and finish this.
Let's see if I'm missing anything.
So checking the script and as we often have to do the one arm needs to be smaller so this will be the
smaller arm now so I'll just kind of you know change this and I'll probably do something to like add
in a different detail to this arm in some way but I'm just going to throw something in loosely and then
we'll bring the form way up so it'll be shoulder short little stubby bicep and a big old fart form Big
O hands.
Again this is just repens it representational
it's many small spikes in the head I don't know there but let's try something like that right now let's
hurry up and jump over to the next sketch and see if we can make some improvements.
So the neat one about this is just again working comparatively.
So now we've got something as a concept we've got an idea going and created a little bit more room over
here.
And let's jump into the next one.
OK so now with the next one we're going to try to make a little bit of variation.
We also want to make sure that we did incorporate everything so let's add a few more little tribal elements
real quick I was wearing some kind of little bits here and there on them and then you know the hair
like it spoke about so hairy kind of arms and forearms even though it's just a very rough thumbnail.
We still want to get those elements in there you know even if they're just scribbles it's very important
that we take note of you know all the details.
Something like that.
You know I mean some wear that sash or for kind of down here.
OK.
So now let's jump over the next one we've got to speed it up a bit.
I'm probably already going over what I would consider timing for a thumbnail.
But now let's try to make sure that we have a little bit of variation here.
OK so one thing I do like to do is change the polls all together just so I don't recreate exactly what
I've done.
I've got to study from this pull from this but also create a good amount of variation at least something
that that shows as being a bit different to give me more ideas to work from.
So what I'm going to do is immediately widen the shoulders I can do this a couple of ways like really
just make the head smaller.
So again just kind of defining things by proportion.
Also going to change the polls a bit which isn't a big deal I guess you could probably do away with
that but I just want again I don't want to recreate what I've already done so and I haven't kind of
holding this big club over the side like those and even play around the design of this a bit more
than the one I still that's going to remain the same.
I'm going to bring the job down really far.
Try to really widen out the jaw and change it and give him a court appointed one be head and smaller
ears by comparison.
So what I want to show there is that just proportions alone again like we've kind of already talked
about.
I play a huge role and shifting the look of the character especially something like this because an
ogre is really in a lot of ways humanoid obviously but it's just got some very dramatic proportion differences
that you know have to be aware of bring this other arm down here.
Just hold on to the base of it almost like a you know up for Bat kind of thing.
Something like that let's go out and bring this up.
And I do want to shrink this down a little bit more after we do this one.
We're going to a third but then I'll I'll do away with the script.
I will probably do it.
We'll see what the timing is.
We might do in the next lesson and put it all together start refining it or bringing the combined the
thumbnails to make our concept.
So I don't want to do here is again the stumpy little legs
like that one forward will bring this one forward.
So again trying to eliminate you know that asymmetry of behavior or symmetrical behavior I just will
always play around with you know not doing that too much because it's just a bad habit to volunteers.
And the thing is it's really not hard to do things out of cemetery.
It's just practice like anything else you just have to get in there and do it.
If you notice I'm just scribbling I'm just throwing the stuff in there very loosely and nondescript
and it could be a lot better obviously but that's really not the purpose of thumbnail.
It's just to get the information in there.
But even in these rough sketches I like to have all the things that that need to be in play as far as
you know like all these techniques that go into the work you want to still get that in there just because
you're rough sketching doesn't mean you don't use all of the same fundamental techniques.
It just doesn't look as pretty.
And the more that you get used to that the better.
Now the only thing I'm realizing with this particular pulse now that goes against the script is that
we don't get the belly there.
So I'm going to do is I'm going to shrink these legs up too big by comparison.
Anyways he's looking more it's changing the overall effect of the character so I'm going to bring these
down.
I may have to adjust them entirely.
Still I think what I need is larger legs lower legs and less upper leg at least on the side.
But then I'm going to draw in this larger belly right here because since that's part of the script we
can't just you know say I was it arms or black and needed to be evident or we need to change the pose.
You get that big belly in there like this.
Some of that fur we don't want to recreate exactly what we did there.
Let's try out the fur coming right off the back.
You coming down in just a little bit of something like that.
And there's probably a good argument to be made where the polls would probably make more sense being
more upright in everything up to the side for design at this point.
But again this is kind of a little bit for the client a little bit for us to experiment and see into
the work a bit more.
I'm just really trying to get a different variation of this character.
Would you still look in kind of the same.
And then what I want to do is let's just take this head and make it even smaller by comparison to really
explore the proportion differences.
And you can probably notice that by shrinking the head you just generally make the body look very massive.
It's the same thing with the legs.
I still feel like they're just you need to look really Stumpy.
You know I'm probably increase the size of the foot in these big old ogre feet.
How it's going to shrink that down and see if that does any good.
You know a lot of difference to really see anything from here so let's go and do another one.
Let's go ahead and get rid of the script.
Now we know the information there and let's go and draw another one off to the side and see if we can
come up with something a little bit better.
OK.
So now we're going to do.
We're going to actually wrap up this lesson here.
So what we want to do is I'm going to make these a little bit larger place off to the side like this
and we're going to do the next lesson or we're going to draw one more version right in the middle.
At least one more version.
I mean there's really you know you just keep drawing these until you get it right.
You know so if we don't get it right in the next one will do another and another but essentially just
that's why you want to keep them really fast so that you can explore these ideas and really get something
out of them.
You should you should probably never settle on the very first one unless you drop 10 or 20 I guess and
the very first one is the best.
Then maybe it makes the most sense but you chose to the client get the feedback and then keep progressing.
So let's move on to the next lesson and give another thumbnail a try.