OK.
So on this one I want to add another thumbnail to this and try to explore more opportunities for this
so let's go and draw again just in other polls I'm actually going to have this ogre a little bit to
the side.
So let's try this maybe an hour.
But know if we draw fast we can see what happens.
As long as we can get all the same information in here and that's the main thing.
And so we get the one I get the big kind of lumpy head go in there I want to shrink this down a bit
but again try working small on these if you can work effectively that way.
And that's the big lumbering arm.
It's going to have the arm coming down like this and again kind of dragging the club kind of like that
better.
I think even looking over his shoulder at us we better
do like the larger lower jaw kind of sitting and resting into the upper chest.
I think that's kind of kind of neat.
It was kind of the nostril holes for now downward pointed ears OK and then for this arm it's going to
be noticeably smaller.
So we're going to really make this one look massive again in the script at one really large form so
tiny upper arm pretty muscular but then with a big old belly we'll get that and that should be the largest
form that like Mike
was kind of a little arm took to the side maybe still not little but just noticeably smaller than the
other one.
I'll probably have to change the position knows I'm not really even worrying about a hand just because
hands take a while it should just be something that you know resembles a hand.
It's always embarrassing but it's it's just kind of the the way that you do it.
You know the thumbnail stage you know you could pretty much just get away and go OK.
There are some fingers here some knuckles and that's that's about it doesn't have to be.
You know if you're worried too early on about trying to perfect the hand you can you can spend way too
much time.
And then we're going to give them the little stumpy legs again.
So
middle feet
and some of the fur off to the side here we'll just try a shoulder piece.
This particular one.
And then we'll have that come down as a strap like this.
Maybe some teeth on the strap you know ogres like to keep teeth.
There are victims I guess
a belly button and probably a little bit of fur down here.
OK.
So we've got the club we need some spikes and you know make it look more dangerous obviously.
We could probably grab some cloth around it something like that just to give it more characteristic
or more detail
OK and want the hairy forms know put us everywhere like the forms and knuckles right here Little's center
a bit on the chest on the belly.
And again just scribbling and I know this looks bad but it's again I'm drawing it larger so I should
probably shrink this down so it looks like more like a thumbnail but I'm still able to discern what's
going on here.
And you know you still go back and clean these thumbnails up if you know if you really worry too much
about presentation.
But I will warn you that can be a double edged sword as well because if you worry too much about the
initial sketch you can even eliminate some of the create create a vibe you get out of it.
So you really want to find that happy medium where it's presentable but it's quick and it's effective.
So don't worry too much.
They'll tell you.
You know you can always tell your client you know it's just a rough sketch to get things going.
I've been known to say that but really a lot of them are aware of that.
You know they're in the business of producing.
You know this type of work and they can see it through.
In and generally spot good or bad creations pretty early on.
OK so let's say.
I'll tell you the truth I actually like this one them all.
I mean it's still very clunky it still needs a lot of refinement but that's what we're going to do in
the next few sessions or you know we're going to refine this.
So what I can see here let's just kind of look at look at these objectively now and I'm sure it's make
them the same size
and see if we can pick apart anything that we want to bring in from the other ones.
And that's where the benefit like if you do 10 of these or 20 or whatever you feel comfortable with
and you want to accomplish.
But it's ultimately what you know what gives you the best overall ideas.
So if we take this I just like the expression of this character I don't know if it's just a side stance.
It almost gives him this little bit of a you know more harmless feel.
But he's obviously still very imposing.
So very formidable these large Mascarin the big arm with the club you know you probably wouldn't want
to mess with this guy.
I do like a little bit more of the detail work on the first one which I'm not like in the third or the
second I guess this would have been number two right here.
I'm not like that at all.
So I would say it's out of these first one and three and I still like the polls on number three.
I like the expression.
I'm kind of looking over the big belly that's more larger by comparison.
We could still mess around with things like the proportions of the head.
By comparison I think it's overall pretty good.
You know I was smaller and make the head the larger the character's going to look.
And I guess I could see into this OK once we add in a lot of the detail and the refinement.
This one's going to look the best.
So I think we're going to go with that.
I think the only thing I'm going to pull from the first one is that we're going to add more bits of
the detail like there's just a little bit more going on like the necklace with the teeth here we can
make that where the teeth are kind of like that.
And this could just be more of a strap with some leather details there.
And you know make sure to get that more rounded and the finished illustration so it really pushes the
depth of the got the muscles and things like that.
I mean to bring this out make it more furry so we'll change things obviously as you find this.
But I think we're going to go with the number three.
So basically we just played the role of the client essentially we looked at the working out Flight Number
two let's get rid of that one number ones ok.
But you know really leaning towards the number three let's change this let's add more spikes let's give
them more for on the shoulder whatever decisions we make and then we come down to this one.
Let me go ahead and increase the size of this now.
Let's get rid of these little number of values here.
And so now we're going to take this and we're just going to clean it up.
So you know start with a softer race and we're going to change some things.
This is again just very rough but it still gives us the foundation we need to start adding in some details
and you know you'll see a dramatic difference from Obviously this rough sketch to the finish was all
it should anyways.
And like I said in previous parts I'm still very open to making some pretty significant changes if ideas
present themselves as I start to draw through this.
So now at this stage I'll just turn to
get in here and
throw some things out.
So obviously this is still very crude and there's not a lot of correct information there is I have to
sort of drawn and you know where this thumb go.
You know the funny thing is it's like when you when you do this if you do star off and you tend to put
a lot of bad sketch lines in there is something it can it can kind of sway you to redrawing over top
of those bad lines so you've got to really be aware of that and kind of get those out early so you immediately
start to change the shapes and figure out what's you know what's distracting you or what point you are
in the wrong direction.
But it's really not that bad.
I still lean towards the idea of more sketch lines are better than last.
Just more food for thought.
Never discount a rough sketch line never ever think that it's just bad information because it's even
if it's a bad line it's still telling me what NOT to do it's still a big part of getting to the right
decision.
So.
So I want to really push these legs back when I have the foot immediately kind of come out.
I think we're going to just going to go with regular kind of human looking feet and then that's probably
something that should have been detailed a little bit more in that thumbnail.
Just so it's apparent because this could be an opportunity where if you're showing it to a client or
we thought you had pointed toes on that so you might have to go back and change something.
You know I was a got to you do have to make sure that even though there are very rough thumbnails that
they do make sense they do read.
They don't have to read extremely well.
And some of that can be taken care of in the verbal communication but you do have to be aware of it
because you don't want it to hinder you and you know slow the process down.
They are meant to speed things up not slow them down.
Right.
So I want to really get that musculature in here and that anatomy and make that arm look very strong
and imposing.
You get a larger by comparison.
Some wrinkles in their
And I still want to scribble.
I still want to keep lines loose and fluid.
You really you really want to fight tensing up until the very very and after all the decisions are made
all the conceptual information is in place and it's OK.
It's all there.
Anders stand what I'm doing now I've made my decisions.
And then you tense up and put in your hard lines because if not you'll you'll you'll just get rid of
that creative vibe too early on in the work.
I think I do have to still figure out the shape of this hand.
And the relationship to the
weapon here
I think you got to bring these down
forgive me I get quiet and concentrate here.
OK.
So the really big spikes
and I have these going in all different directions and they don't need to be all pointed so they can
be bent down and make a little more sense.
It's a player all the sheeps there and try to get some that look a bit more dimensional
or something like that looks pretty pretty dangerous.
And so now it sees the form probably coming over to the side.
So.
So here we just want to add in lots little details make it more interesting look and more wrinkles.
But again I'm still scribbling to get a lot of this information in place and make some decisions here.
Figure some things out.
It's come up work we're kind of had some bring out this kind of lumpy head thing that I think is always
pretty cool about ogre's one single bra over this big
downward turn ears.
And I think these characters just lots and lots of little wrinkles as well it really is kind of neat
about them like you know when they're done while I think they are you know like they've just you almost
think about the it's going to sound silly but the life they've lived you know it's barbaric and rough
and so you've got to think wrinkles scars imperfections you know you definitely won't want a very clean
and polished ogre it probably wouldn't make a lot of sense.
But the more you can get that roughness and that grittiness in there it's probably going to transpose
well to the character concept.
So I don't know if we'd seen the ribs saw probably not do any ribs right there but maybe again some
wrinkles right there.
Bellybutton would we say a bit of what is more hair on the center.
Was kind of scribble that and so probably do at least one more level of refinement to this.
So again this is that stage where you know the clients approved it and you know or maybe they want to
see one more clean up that happens at times too.
And then they refine it or they give you the go ahead for the final rendering.
And I get to go with three toes three three fingers and a thumb I guess but
has to make it a little bit different.
OK.
So so now we've got some pretty good choices made and there we're still we still need to bring this
to you know more detail and more clarity but the pattern even Auclair it.
I think it all reads well it's all understandable but we obviously want to refine it more and make it
look more like a polished illustration finished drawing.
So what I'll do here and the next lesson we're going to take this a step further I don't know that we
might add more details but we're going to definitely clean up the existing information that we have
here and get it ready for display.
So with that let's move on.