Creating Creatures from Basic Cylinders: Drawing Tutorial

hey everyone welcome back so we are going to continue our series of Designing creatures with primitive shapes so I've touched on spheres and I've touched on cubes so today we are going to show or build a creature based on a cylinder now first I must teach you how to build a cylinder so if you've done Foundation studies before if you've practiced this bear with me if you have not try to get a Sketchbook get your pen get your pencil and follow along with me we're going to do this vertically now we can lean a cylinder Any Which Way We deem fit okay but to keep things simple and to keep things moving along quickly we're just going to do it vertically okay now I'm going to tilt my Sketchbook just a little bit so I can get a comfortable ellipse but essentially you want to take your pinky all right and you're going to have that be the guide for your hand running across the paper now those of you that are familiar with using your shoulder when you sketch it's very important to do so because you do not want to use your wrist only and you don't want to use your elbow only what you'll get you'll get banana shapes you'll get kidney shapes and basically your what you hope to be straight lines will actually end up bowing okay so if you use your uh shoulder like this and just lay the ellipse down horizontally on the page this is very lightly done all right and it's uh if you turn it like this the ellipse is going to be laying horizontally okay now this is very important you have to build a good foundation for your drawings before you actually start drawing intricate details and adding forms to it okay so a cylinder is not as difficult as a cube because there's really only three shapes that you have to worry about the topy lips the bottom ellps and then the walls of the cylinder itself so what we're going to do is we're going to establish the center of that ellipse okay so what you want to do is you want to look at that ellipse and cut it in half okay you're going to do a vertical line and then I'm going to turn it so I can draw comfortably like this and then I'm just going to cut this the uh ellipse in half horizontally like this so essentially what you get when you turn your Sketchbook back vertically you're going to get a plus sign okay you're going to get get a nicey lips drawn and you're going to get a plus sign now notice that all of these lines are going over top of each other without being perfect so I'm giving everybody watching this permission to not be perfect with these lines what you do need to do is draw lightly because when you draw over top of your previous line you want to make sure that it is light enough so that when they start to stack against each other it forms a nice grouped uh lines okay I don't know if that was correct English but anyway I hope you get the gist okay so now once this is established you can do two things you can either go to the center of this ellipse and just draw a vertical line straight down or you can go to the edges and you can do that do it this way what I like doing I like doing the very center of the ellipse okay so I'm holding my hand like this so notice how the tip of the pencil in the back there's barely any real estate left but there's a lot on this so I'm going to keep things light and I'm going to move my hand off of the page so I'll move it down so you can see it now what I'm doing is I'm making sure I'm using my shoulder and I'm going to go vertically this is going to be very very light probably so light that you might not be able to see it on screen but it is there so you'll be able to see it now I'll push it up a little bit so you can see okay so I have it focused so it's only on this spot okay so if it was a little blurry it's not autofocusing okay so once we have that the reason I like doing that is because I'll go to the edges of my ellipse okay and what I like doing is I like looking at that horizontal line that I cut the lips in half with and wherever it's stopping on the edge of each side of that elips I like to put just a little dot that helps me some people like to put dots some don't I'll put one in the Center it just like one selfishly it just looks cool but two it's like a good indicator like hey this is where I intentionally meant to start my new lines so now I have this as a guideline that center line that is cutting the cylinder in half once I have that I'm going to go over to this side you can start on this side if you want I guess if you're right or left-handed it really doesn't matter I'm going to go on this side and I'm going to make sure that this vertical line going down is parallel with my Center Line okay this is where I'm really going to not harp on you but this is where I'm going to reiterate how important it is to make sure the foundation of this cylinder is built correctly because later on when you when we form a creature off of it the perspective has to be correct this is why cubes are so difficult if you followed along in my last tutorial my last video that will be linked at the end of this one you'll see that it is kind of it's difficult okay now I'm going to go to the right side and I'm going to make sure now you can't see me off camera but what I'm going to do is I'm looking over my Sketchbook I've mentioned this in my other videos where if you look directly over your Sketchbook you can see the perspective for what it is now a lot of times when we as human beings draw and especially write we put the Sketchbook on our desk and what do we do we start to lean our head to the side and add detail and all that and it Skuse our perspective which is why 90% of everybody's perspective is screwed up okay you have to look at it direct this is why it's so easy to see perspective issues when you view images on the computer screen why is that because you're looking directly at it okay so you have to imagine that now if you're standing up or no if you're sitting down and you're drawing just make sure that you have good posture and you're sitting up okay now the cool thing about this method is that it doesn't matter how far down the sides go or the center goes the reason is is because we are going to add an ellipse wherever we deem fit inside there it doesn't matter these just need to travel down long enough or far enough so that I can comfortably put an ellipse in there wherever I want okay you don't want to come up too short unless you specifically know that you are sketching a short cylinder all right now let's put that second ellipse in there okay I'm going to turn this sideways again I'm going to look over my Sketchbook the reason I'm turning it sideways is because I'm right-handed so I'm just tilting it this way so I can see it and now I'm going to put an ellipse in there okay the secret to this ellipse is that the bottom ellipse in a cylinder is all always slightly open more than that top one why is that it's because perspective when you have stacked ellipses moving up towards a horizon line or our eyesight or our ey line because you have to imagine if you're looking at a a soup can or a pop can soda um you're looking at it from the top down view but if you see a tube or a pop can that's that's far enough up it's going to become an ey level and you won't be able to see the ellipses inside so each stacked ellipse gets skinnier if I were to go past this top ellipse that I drew it's going to be skinnier and then one above that is going to be even skinnier okay now I can start to darken this a little more because I comfortably put the ellipse where I want it but I'm still keeping it a little light now here's the other key that I want to to show you now that I have a shape that I do want I'm going to darken it slightly just slightly right here on the side and then over here on the side we're not done yet what we need to do now is we need to successfully connect the sides of the cylinder those lines that we drew to that ellipse we can't just draw the line straight up and stop because the sides of a a a can or a cylinder does not stop at a point when it hits the ellipse it actually wraps around you see a little rolling effect I'm just putting a little bit of a rolling effect in there but I want to also keep things lighten here because I am going to turn this into a creature we are going to turn it into a creature okay so if you've been following along with me so far fantastic if you're confused and you want to throw the Sketchbook and a pencil at the table or the wall fine just go grab a bite to eat come back watch my video again and then we can start over Okay so now that we have this um let's see what we can turn this into now when we think of a vertical creature um anything goes okay most of the times we want to draw dragons and spiders and and weird things we're going to draw something really weird all right now the the cylinder itself it doesn't have to be the shape of the creature we're just using this as reference my first tutorial when it comes to the basic shapes was with the sphere now spheres are easier because it's rounded so that's basically the silhouette of the creature most animals that we know aren't walking around with a flat top a flat bottom and a cylindrical side I mean yeah maybe planked in an amoeba and weird viruses but other than that uh wiener dog maybe I don't know yeah probably Wier dog but anyway we're going to start doing that okay just to show you so you guys can see this uh head on I'm going to turn the Sketchbook this way so now you can see the power of doing a cylinder very lightly because there's a lot of things that I can add inside the cylinder with the actual shape being lightly drawn okay so let's start looking at this body real quick I think I want to draw something maybe a little worm like I think that would be kind of cool I'm going to use the side of this and maybe have you know and here's the cool thing as you guys are watching this with me I really had no idea what I was going to put in here but as I just put that Mark in I thought you know what would be cool there's always those weird Sci-Fi movies and horror movies where you see creatures and strange things inside of a bottle with falah so I'm thinking what if there was something like that in there okay maybe maybe maybe like a worm creature that is twisting around um I don't know if I actually want to draw the actual forhide bottle I mean I could cuz I already have the cylinder in there but I don't know if if that would be a good idea because uh this is so far pushed over maybe I could just put the bottle around it I don't know we'll see that's the other thing like I don't know what's going to happen and that's that's where the fun part comes in okay so you can see how loose I'm keeping my lines I don't need to do anything fancy everything is established for me I have the boundary that I can't go past I have the shape that I need to keep most everything and three we as artists tend to work a little better when we're coming up with something on the fly but we also have rules okay so this is why the better the brief that you get from a client the easier time you're going to have at coming up with something that every body's going to like on the team most of the time if you're just so insane about the stuff that you draw then they're just hiring you specifically for your your style and they have no idea what's going to happen either so it happens all right o wouldn't that be crazy if we just have this weird like hook right there um comment below if you've seen the movie uh oh wait I just had it in my mind splice yes it's it's a it's an older movie kind kind of it went out of the radar it flew under the radar it had Adrien Brody in it uh it was pretty good it was a little weird but splice was good spliced some DNA they made a a creature that well I don't want to say anything but it it was strange okay oh now we're getting somewhere look at this twisty motion okay so there's probably going to be some kind of a weird joint right there all right so what I'm going to do is I'm going to put some bulky shapes in here just in case I want to put some tendons or muscle under there later all right so now we have that very very weird um I am actually having second thoughts about keeping the cylinder as a bottle anyway I might just have appendages come out that way we can have something truly strange and otherworldly for example what if we put some appendages coming out here and they're almost like legs and they are legs okay like little spider legs o that's gross we're going to put a little bit of Chaos in with these so what that means is uh those of you that are brand new to my channel you haven't seen my stuff before um I always I always like to mention other artists that I've worked with and all that I have a very good friend named Dave his name is Dave Melvin and I'll never forget what he told me he said that if you add a little bit of chaos to your designs especially your creatures and your characters uh goes a long way into making things unpredictable okay so I'm keeping things loose I think the style for today's drawing it's just going to be rather loose now I've been putting a lot of detail into the other ones but let's just H let's just have fun today not that the other days aren't fun but fun as in gestural sketching uh things of that nature okay so now that I have that strange shoulder I think what I'm going to do is indicate a hump over there and then maybe have some weird claws or hooks come out of there okay uh if you've you know if you've seen some really good movies or some good uh short films or you read some books comment below cuz I would love to know what they are see if they can give me any ideas maybe something that I can draw in a future episode I think that'd be a lot of fun I do have a lot of stuff planned as far as the creature tutorials go for well-known beasts like the xenomorph the Predator I've Drew Predator but that was last year I'm going to be doing it again um Warhammer Universe you know all that all that stuff just love it okay I don't know what that is I I assume it's a th so maybe the head is down here I don't know okay so now that that's down there wouldn't it be cool if wouldn't it be cool if we added a second tail maybe coming up here so look what's a look what's evolving just from a a simple cylinder I mean again like we as concept artists yeah we we do operate with we operate better with the more information given to us but at the same time you're you're supposed to be an idea Factory so you can come up with as many ideas as possible with as little information given to you as possible that's it's difficult but it's also fun see some opportunity to put some crazier shapes on here maybe some some tentacles I have no idea what this is man I want to have a face turned around and coming at us maybe I should okay let's do that you guys are going to witness this in real time I didn't plan this I'm going to attempt to have this weird head maybe wrap around here so it's going to come up okay um I have some well not some I'm I'm going to be starting live sessions okay now I did premieres for the past couple months and those were fun but the premieres were just pre-recorded videos with live chat I'm actually going to have live videos we're going to be drawing on the Fly and probably taking in information and suggestions from from you guys whoever's going to watch it and I'm going to draw weird stuff I'm GNA do stuff like this okay oh boy I don't know what this is that's that's the fun part though okay let me put in a little bit of value here so you at least know where the the body is all right so what I'm doing here is I'm adding some value and obviously it's going to look different physically in real life than it is for you on a screen but this will help indicate where it is so that you can see it okay I'm probably only going to do like maybe three passes I I don't want to do anymore yet all right there we go okay all right so now we got it all right the face now when we look at something that is truly grotesque and worm likee and slug like I don't know what do you think maybe a strange opening in the mouth here I don't really want to do anything that is well known okay I could put some eyes you know what I think I will put an eye I'm going to put a very very scary jet black eye here and a very scary eye there and maybe a smaller one there and a smaller one there okay so inside here is going to be thousands or hundreds I don't know how many of teeth and what the teeth are going to be doing is they're all going to be pointing inwards similar to the inside of a snapping turtle's mouth those of you that are familiar with a snapping turtle in the inside of their mouth it is truly one of the most terrifying things you will ever see Google that right now pause my video Google inside of snapping or an alligator snapping turtle's mouth there's so many teeth and they're all pointing inwards so whatever it swallows it will not be able to escape it is terrifying but anyway wouldn't that be cool to put that on a creature yeah I think so okay so I'm going to shade a little bit inside here just to show you where this crazy y-shaped mouth is and I have it go down like this I'm going to add some structure to the face there we go and maybe like a flatter head so now you can see the worm looking at us if you want to call it a worm I guess yeah there we go so here's some eye socket protrusions all right notice how I have not used my Eraser and I have not sharpened my pencil yet I do need to sharpen my pencil okay all right let's add some value on that actual face now when I start to put more details on this creature I I do want more detail on the face than any other spot why because that's my selling point all right each concept that you come up with whether it's for yourself whether it's a personal portfolio piece or your portfolio in general in order to get hired by a studio your Concepts have to have purpose and they also have to have a selling point why are people looking at it anybody can just draw a creature okay but if your creature has meaning behind it okay if it's going to kill somebody why and how is it going to kill somebody what is it going to kill somebody with big teeth big spikes big claws acid I who knows okay so now that we have that um I'm assuming that this worm is probably poisonous has to bite you somehow so I'm not going to draw the entire mouth open that's up for interpretation so I'm just going to pretend that this is the beginning stages of concepting now as far as explaining what chaos is all about notice how the legs down here are more C peed spider like and the legs up here are kind of hanging almost like they were meant to grow where they spotted but they didn't grow correctly so this is the chaos that I'm talking about U it it's unpredictable and fun okay so think think about being a concept artist for a second one of the coolest things about being a concept artist is think about the title concept okay you are inventing something hopefully that nobody has seen before and if they have seen it it a very very different take on it so it's not boring all right now there are thousands upon thousands of wormlike creatures and movies and in video games short films you name it okay so it I mean if somebody if you see a cool concept most likely somebody else has drawn it already it's up to you to figure out how are you going to make it your own how are you going to make it different enough to where it looks like it belongs in the world that you're creating okay and to to you know to eliminate any fear of actually having to do that it all starts with getting a good foundation in first because think about all the times that you have started a drawing and instead of the actual concept being awesome you were worried about applying the actual lines you were too worried about oh my gosh my shading is going to suck my my cylinder my cones my spheres my cubes are going to suck and here you are tasked with coming up with a a weapon for a new Transformer it's just like you these kinds of practices you know starting with cylinders cones cylind or cylinders cones spheres and cubes that's going to become second nature if you keep it up all right so uh those of you that are new to my channel thanks again for you know coming to my channel I I do hope that you find my other videos helpful there is a planned foundational drawing playlist that I will be including on my channel late spring I I mentioned this I believe back in February on a public post okay I will be putting that in there at some point and there's also going to be several digital products that I'll have available soon okay that it takes a lot to plan these things but it's going to be foundational drawing practices and principles okay I'm going to go over everything from how to draw straight lines how to draw circles how to draw all the fundamentally sound things that you need to know in order to become a better artist okay so notice here that I started to put more detail in on the face okay it's like a a happy mutated caterpillar looking at us and I do ask that each time that I create a creature those of you watching I would love to hear your name for it I don't remember what I named my last creature what does this look like does it look like a Larry does it look like a Samantha um I don't know uh like a Helga Gertrude a gy I don't know put it in the comments let's see what it looks like okay so now uh I tilted the Sketchbook just a little bit and to give a reason why I do that every single person that draws on this planet has a specific position that they hold their body in their shoulders their arms and their pencils and their hands in order to create the best lines possible now me cuz I'm you know each one of us is built differently the way we tilt our hands the way we tilt our bodies it's going to be different my arm produces the best lines for me at specific angles so in instead of turning your arm uncomfortably in order to draw well turn the Sketchbook you can draw an entire thing the same exact angle mechanically with your hand and turn your Sketchbook all kinds of different ways and still produce the best thing all right best thing possible I should say always remember that okay so now we got a a pretty good outline I'm going to start to scribble yes scribble this is another thing that I'm giving you guys permission to do so please scribble okay I don't have authority over anything so when I tell you I'm giving you permission I'm not the Lord over anything okay but what I do have is years of experience and knowing that we tend to overanalyze as artists every single marking that we put down on the paper I'm guilty of it I'm guilty I I mean I can't tell you you how many sketchbooks over the years especially when I was a a young lad and a teenager and even in my early 20s where I would get a Sketchbook pretty expensive and I would put one marking down on it that didn't start well I got in my head and I'm like you know what I don't want to use an eraser yet and then I start using an eraser and then I start erasing away the material with the coating of the top of the page and then when I try to draw over that spot that was erased the shading didn't look as good as the smooth Parts on either side of that eraser Mark which is one of the reasons why I encourage you guys not to erase as much only erase when you have to but I would just start these sketchbooks off with little things so imagine you saw only a claw okay and the rest of the page is perfectly white beautiful and you didn't draw anything you just turned the page because it didn't start off well that would Happ happened to me cuz I would get inside my own head because the first thing that I put down wasn't perfect and then I would be like you know what I'm not going to screw up the next one and guess what I screwed up the next one because I did not allow myself to scribble draw Loosely embrace the gesture part of of Art and you learn this you know you're going to mature uh those of you watching right now that are have attended figure drawing classes amazing amazing I encourage everybody to attend figure drawing classes whether it's locally whether you are already out of school it you learn so much because not only are you sketching organically you are literally sketching the most difficult thing to draw on the entire planet and that is a human being it is because listen a lot of people say it's cars cars is probably the hardest thing you're ever going to draw but when it comes to free thinking and shapes and gestures and movement posing uh weight distribution expression personality human beings are hard now what does that have to do with the creature I'm drawing it's because those of you that want to be a character artist and those of you that want to be a creature artist they actually go hand inand the better you get at one of them you are actually practicing the other because think about Star Trek think about Star Wars think about all of those games and movies you've seen where you see a humanoid you see a creature that could also be a human think about the Cryptids out there think about uh Slender Man you got Sasquatch you have werewolves um windig goes things that kind of look human and they have humanesque qualities but they're not human Okay especially the wind too man it's terrifying all right so you can start to see the the other beautiful thing about gestural sketching is that when you start to apply all these loose lines over top of each other and if you have patience which I encourage you to practice patience does take practice if you start to build all of these layers up you actually form a lot of detail in there everything in this neck right now with all these wrinkles and everything it's expressive okay there are thousands upon thousands of people that are going to view this video every single one of you you're going to pick up different details in this neck than the other person okay this is one of the things that I learned back in school when I was in industrial design and that is the beauty of thumbnails is I you you can't match it anywhere and that is if you hang up like physically hang up a printed out page or just rip out a sheet of your Sketchbook hang it on the wall of your thumbnails and you have a group of people looking at it each person are going they're going to see something different within the thumbnails that's the beauty of interpretation this is why gestal sketching is so important especially with concept art and even more so with human anatomy drawings okay because once you get better at the muscles the organic shapes you're actually going to get better with creatures because it's the same thing and the better you get with existing forms like animals which I encourage you to draw to the better you get with animals and the better you get with humans guess what you have that visual Library stored in your brain so that you can draw things like this on the fly I'm not looking at anything if I were to move this camera around and go around my office I'm not looking at anything I'm just pulling from years and years and years of obsessing about rated R horror films and other concept art and stuff that I've done for games and movies and I'm just like you know what I'm really glad that I obsessed about insects when I was 8 years old while other children were playing with RC cars I was climbing trees too my mom always said if she would call me in for for dinner me and my sister that if I was not on the ground when she looked outside of the window she wasn't afraid she would just look up in a tree and I was in the tree and then she would tell me it was dinner time it kind of funny all right there we go okay so more details are going to be added here on the body I put in some shading I don't really need to indicate much of it all right I'm going to turn this a little bit and this is the this is the power of showing still where the gestal sketching lies in a sketch without putting too much thought processes into or thought process into areas where you don't actually need to think hard so like down here towards those spidery legs I don't really care about those legs and I'm telling you not to care about them also cuz notice how the the head is the darkest okay this part up here is that has the most personality the the most um feeling that you get from the creature okay it's the face I know you know the CL I'm going to say this every time the cliche about eyes or the window to the soul doesn't matter how heartless merciless or evil the eyes are that is true this creature has no eyelids it has no thought probably other than give me food I'm I'm going to kill you as a matter of fact it now that I'm drawing this it kind of reminds me of the squid like creatures and Peter Jackson's Kong movie you know like to personally for me my favorite sequence has nothing to do with King Kong it's that trench that they all fall into with all those bugs and slugs and arachnids that live down there that's a terrifying scene it's really really good but there are these slug creatures down there that just ate the chef hole Andy Circus was funny yeah I laughed all right so now uh another cool trick if you want to make some parts of the skin jump out at you on the page is when everything has this light to medium tone to it with all these builtup values and lines and everything you put really dark marks on there to indicate some maybe imperfections and bumps in the skin like this and then going down the neck and again me as a as an artist I'm selling the head only so I'm showing you that these things exist on the head and then I'm telling you what direction to take your eye down the body to indicate hey there's more of those things that are growing off of this creature's body but I don't need to draw every single one and I think this is a trap that a lot of artists get into is that if you draw some details on one part of the body you have to draw it on every part and that's totally not the case when giving an idea and making it successful because if if I have a bunch of tiny little imperfections in the skin and scales and bumps and hair and fur and all that kind of stuff on the face pretty much that's going to exist on the body too so you can take this as information put it into your imagination let your imagination run wild and then travel down the body okay think about books you read all right it like everybody is going to interpret a book differently whether it's a horror mystery sci-fi doesn't matter okay we all have these Visions in our head of what the characters look like the creatures the settings and this is why and I hate to say this but this is why a lot of the books are tend to be better than the movies it's because the movie was just one one director's vision of what the book was or supposed to look like sometimes it's amazing other times it's not so amazing anyway that's a pet peeve of mine and and I'm not going to get into that maybe for a later discussion all right look at this like it it came from a cylinder so hopefully I I mean I would love to see what all of you are drawing right now um let's put a little chaos in here let's put some some tentacles coming out maybe there's some strange slithering tentacles that are growing off of the head which is another really good can camouflage this creature could have maybe it just sits in the foliage of a jungle or a forest and it just kind of waits for you put some little dots on each tentacle kind of like a maybe tiny little suckers or spikes something like that okay um uh the other thing is I I'll probably make this part of the body darker just to show you what's in the foreground versus what's pushed back you know there even though I'm not going all out into detail there is still atmospheric perspective that is happening within the sketch okay now notice one I didn't use an eraser at all two you have barely seen my hand as I've drawn this and that's because I keep my hand off of my sketch I get asked hundreds of times literally hundreds of times how do I keep my drawing so clean and it's one I don't erase two I keep my hands away from it like if you erase and then you need to brush it away what are you doing you're brushing over the graphite you're smearing everything two when you place your hand on top of the sketch unless unless you're going to hold it completely still and just put in some details the oils in your skin are smearing it now over time when you you know close your Sketchbook open it close it close it close it especially you have a sketchbook for years yes the pages that are touching that drawing are eventually going to smear that graphite which is why I use this okay so let me sharpen my um prismacolor oh you know what this is not Prisma color I I grabbed the wrong pencil hold on just a second okay this is my prismacolor I'm going to sharpen this all right the wax inside of a prismacolor sits on top of the graphite okay you want to treat it as an equal okay so however gently you shaded and marked up your page with graphite you want to do the same with a prismacolor and that is because the wax helps keep the graphite down helps keep it from smearing now it does not have the power of fixative or some kind of spray Mount but it does preserve a lot of the marks in there okay so it and on top of that it adds a texture that graphite does not have and it's really cool I can't explain it you just have to see it but look but watch the Power of black prismacolor so when I have a graphite pencil even if it's 6B something that get super dark okay it can only go so dark if I want something that's almost black let's say I'm doing an insect and it's the pincers or some kind of tentacle or a toenail or an eyeball all right all I got to do is just take that Prisma color and look how dark that got okay so the same thing could be said about that side and then maybe parts of the inside of the mouth right here where there is no light source going into the hole and eventually down the throat and then here in the eyeball I'm going to push pretty hard maybe on the main eyes you got to be careful though about black Prisma color because once this is down there is no turning back especially if you have really nice beautiful shading with a pencil and then you shade on top of that graphite with black prismacolor to help add texture you can't take an eraser if you have to use it and erase that it's down so just be careful so I'm I'm being very careful and selective on how I apply this and those of you that are new to this technique maybe you've never heard of this before the the black Prisma color you're going to see the awesome texture that it provides the black Prisma color sits differently on the paper than than graphite does graphite is smoother black Prisma color is thicker and it's a little rougher just because it's wax based so you want to make sure that with the graphite you already establish where the Shadows are going to be so that you can just lightly color over them now with areas like this that are more in open that hasn't really been touched by a pencil here's what you can do you can put multiple passes with the graphite across this area maybe even five six seven passes something like that's really smooth and then once you're happy with five six or seven different passes I'm just throwing a number out there it's pretty smooth then you take a sharpen black Prisma color and you do the the same thing then you put it across here and you'll notice that the wax this whole texture that happens is is a lot rougher so the wax does not fill each individual groove of no matter what paper you're using as much as graphite does no matter how hard you sharp how hard you sharpen it okay so what you have to do now is you have to treat this gently okay turn the Sketchbook and apply that pressure that you did with a graphite with the prismacolor so that you have a nice smooth coating with the black Prisma color also so and then here's where the beautiful thing happens let's say you do five or six different passes with the graphite then you take the black Prisma color and you do the same thing you take the pencil again and you go back over the the uh Prisma color and then you're going to start to see magic really happening because what this does is it fills in all of those tiny little gaps that the wax had so now you have something really smooth happening but again seeing this on camera and seeing this physically in real life is is night and day okay so you're going to have to practice this when you you know when you're sketching or when you're doing something for an assignment you're going to start to see just beautiful results when you start to keep your hand loose sketch gesturally okay and then build build build you can always get darker you can never ever get lighter do not rely on an eraser to get lighter cuz it will screw up your drawing all right yes you can use an eraser if you have to I have to sometimes cuz I just put something down that is just not agreeing with what I attended then I will erase all right all right thank you for paying attention to me while I draw this grotesque worm um I don't know what to name it but I would love to hear your suggestions so just comment below name name this thing be sure to check out my tutorials on drawing creatures from a cube and drawing creatures from a sphere okay and those will be linked here at the end of the video thanks again I'll see yall next time later

Channel: Draw Sessions

Views: 67,090

Keywords: drawing, how to draw, organization, how to organize your projects, sketching, portfolio building, concept art, fine art, drawing cylinders, foundation drawing, drawing creatures

Id: J9UsTJgAlgc

Length: 43min 43sec (2623 seconds)

Published: Tue Apr 09 2024