Fear Takes Shape: Capturing the Horror in a Scary Creature

oh hi there we are drawing some very scary stuff today so I'm going to walk you through what I like to do when I do a creature that's supposed to scare the hell out of you and if you're wondering you know like hey how can I make my creatures scarier because they tend to be bubbly and cute well I'm going to show you how to unbubble your creatures and how to make them not cute so please pay attention all right so let's go Cosmic horror since that to me is the scariest form of creature that you can do because it's space nobody in space can hear you scream you don't know what's out there there's a lot of planets Etc um I'm just going to start with a thumbnail let's see what happens so I'll draw big enough on the screen here so you can actually see it let's do something a little strange okay uh something a little out of the ordinary maybe it doesn't have a normal mouth I'm just letting the pencil flow where it where it wants to you know I I like drawing a arachnid type things so maybe this creature is not going to be a raknet it's actually going to be rather bulbous and I don't know let's just see what happens all right so we got we got like this hulking shape right here it's similar to a beetle and instead of insectoid legs I'm think thinking you know what what if this thing is like a blob and it lives in like a sewer area or not a sewer but just someplace really disgusting on the planet that it's from now what that means is there could be a lot of strange things on its body talking tentacles if it lives in in muck and garbage maybe there are suction cut cups where it kind of eats that stuff I don't know I don't want to PUK while I'm just drawing that's gross but I think I will add some tentacles here just a slight indication of where I believe tentacles could exist on it but not necessarily I'm not going to necessarily be committed to it all right now first things first I always like to establish the face this is not going to be a familiar face so what I'm doing now is I'm thinking outside the box and I'm going outside of my comfort zone okay so no humanoid looking face no faces that I know of on any animal on Earth but this could potentially exist somewhere cuz I I do have to make this feasible those of you that are new to my channel welcome back this is where I help you become a better artist uh I want to thank everybody for you know subscribing to CU you guys are awesome man YouTube has been such a pleasure to get back into ever since I don't know the the end of May of last year I cannot believe it's 20124 that's nuts okay now I'm starting to see this really cool shape happen also if you're new my method of Designing creatures might be different than what you're used to you know I I like to really emphasize the thumbnail stage and then once I get the thumbnailing down I like to pour my heart and soul into the face and especially the personality of it cuz the details in the face are ultimately going to dictate usually what's around the rest of the body okay so this is how I typically start the drawings whenever I do a creature that I I have no idea what's going to happen I think that's the funnest part about it all right so it looks like this face the the well I was thinking that these could be eyes and then I'm thinking you know what maybe it doesn't have any eyes maybe it just has like a disgusting mouth right there so I'm just going to draw some strange looking fangs slash teeth like this so you guys have be able to see it and then even though I'm making this up I'm still pulling from the years of obsessing about insects and I'm trying to you know dive deep into my uh repertoire of insectoid reference my brain cuz it's pretty demented and I'm trying to see what's going to work here I don't know if it will I'm going to try to make it work this is one of the funnest Parts about creature design like you have no idea what's going on okay so right there uh kind of looks like the top of a mouth and I don't want that so why don't I add another layer in right underneath all that G and then maybe maybe it has like a prascus okay and then it has this like sharp thing maybe it just like licks the ground I don't know those kind of do look like eyes don't they yeah they do okay so I don't want I don't want this thing looking like the Predator so what I'm going to do is I'm going to change up that head a little bit but I'm going to add in some more tentacles here so the head can actually be a little thicker here and then maybe a weird shape coming off of each of those openings that could be kind of neat I have to watch my perspective though uh um I actually will use an eraser now I don't like to there we go those were not in perspective correctly so everything on this side of the center line is going to be a little less prominent I'm just got to honor that indicate where that hole might exist over on the other side of the head there we go now we're talking now we're getting somewhere really gross so I'm going to darken those up there we go okay now the the mouth down here I had an idea let's get really deadly and let's just hang a bunch of really sharp disgusting teeth off of that sucker you have no idea what's happened oh you know what why don't we just split it right down the middle maybe the whole head opens up o yeah that's that's pretty deadly so I'm just going to darken up inside there right like that there we go now you're probably wondering like how am I just making this up as I go without doing thumbnails well I did do a thumbnail the thing is I'm letting my brain just just put lines down that's all I'm doing and then I'm going with the flow that's one of the coolest things about doing creatures you could just go with the flow and see what happens stop trying to perfect everything some of your worst designs come from trying to perfect it some of your best designs come when you're not thinking because typically what you draw subconsciously when you don't think usually is better because you're not second guessing yourself now we're getting somewhere see the see the shape starting to happen now I can put some exoskeleton on there if I establish everything on one side of the face first it makes me feel better to take that and duplicate it on the other side of the face all I got to do is put it in perspective so just remember that I'm going to take my pencil and I'm going to now give myself a very nice coating of graphite across the head right like that um those of you new here I like shading like this if I do a minimum of three different directions it usually will give me a good starting point like a good coating of graphite keeping the pencil sharp is important keeping your hands away from the graphite is very important Bobby how do you draw without getting smudges everywhere well I don't smudge it that I know it's kind of cheeky but just keep your hand away from it that's all you got to do if you're right-handed start drawing from the left or the top and and move your way down diagonally if you're left-handed do the opposite down quit putting your palm over your over your drawing and sliding your palm around trying to draw stuff just keep it away like this use your pinky as an anchor point to stabilize your hand put it on the paper and then you move your arm you don't move your wrist you move your arm the only time you should move your wrist is when you're putting in finite details and you have to but even then my wrist isn't moving a lot all right easier said than done I know because you just you have to remember to do it mentally and physically during the drawing but you you'll get there you'll get there it'll become second nature all right um let's do this these strange arms here I'm going to put some really cool little elbows I guess maybe some stretched skin and then instead of the normal hands that are typically on creatures why don't we do something really weird how about these hands split like this and maybe there's like two smaller appendages up here with with fingers and then you got the knuckles up here and then you got the huge set of carpal bones and tendons okay and then that thing put the padding of the toes on there this thing on the side maybe it's a it's a gripper on the side or you just got this big retractable claw like a velociraptor and say hey the hell with it let's put that in I think I'm going to do that because I can't it's my creature right there we go it and and the other thing about designing creatures is just have fun with it guys seriously you're not drawing this for anybody that's why I always say that uh if you have a Sketchbook stop treating it like you have to prove it to somebody else with all the sketches in there that's your diary man everybody it's your diary don't worry about what goes in your Sketchbook that's your learning tool okay all right if if if you would see the amount of concept art from Big Game Studios from their artists you would be like wait who drew that cuz it's awful and why is it awful because we all have to go through that design phase man I got so many bad drawings in my Sketchbook that I deem are bad it's just like there's no way that these scribbles would amount to anything but you got to get through the bad in order to get to the good that's why you have an art director there there's going to sift through that okay well yeah that's that's a that's kind of a cool head there um I'm not too happy with the shoulder so let's see if the brachi Alis muscle is right there maybe the forearm is underneath that stretched skin there you go you see how my my pencil is just kind of flowing around there I'll do an oval here to show you the wrist there's the elbow here there's the shoulder here all right like I said man this is it it's love crafing so anything goes in this horrific looking thing all right um I think I'm going to darken the the actual ground here here just to show you guys where creature is standing all right um I'm going to darken the toenails put a little shine on there so I'm going to leave the reflection inside using the paper there we go you see that little slit right there and you could just do it again here but don't do the same thing so just give a little bit of different pattern inside there and then you take your pencil and then you give it a nice coating across everything and then you fade it up into the arm and all of a sudden you start to see death happening it's really cool all right uh let's get weird okay you got these strange arms coming out okay you got this little joint here maybe there's another joint here and that hey guys that that's just the middle middle arm I think now I think now it has like six legs I don't know what's going on I have no idea what's going on but it's kind of fun at the same time oh yeah okay so I'm going to draw that other hand on this side uh let's spread out the fingers a little differently to add some variety Maybe here's where I'm using my wrist see I'm just kind of moving it like this I'm just going to put some shading in between those fingers here less light's getting down there anyway there we go now we're talking that's fun all right so the face see the face is going to be the selling point so whenever you do a creature you want to sell the face more than anything unless there's a functional feature on the body that's so crazy that you have to show that part of the body more than the face all right I just had a crazy idea and I don't know if this is going to work why don't we make this pretty Majestic and I'll put like a a big headdress up here not a headress but oh man it it's almost Regal like you don't want to mess with this thing whatever whatever Planet it's from because it probably guards a city or or something there we go okay so I think I think what I have well yeah establish that Center Line cuz there's the back of the head I have to honor that head on the other side here so this is this is where it can get kind of trick tricky so the head if if you were to lay a pencil down it's not straight like this the head is kind of leaning down like the creatures looking cocking its head to the side kind of like dogs do when they're interested so that means that you have to be in perspective this way you have to make sure that well each point you're going to duplicate on the other side you're going to tilt it all right and a way to do that is if you look at the center line that I drew here on the head just put a dot there and then look at the way the head's tilted do a 90° angle based on the tilt of the head and do a straight line going up like this and then after you do that okay after you do that then you can make sure you keep it at 90° and just kind of do your perspective lines going across there so now you know where the stuff is on the other side all right now it's big headdress here okay so I know that this point is going to be on this line somewhere on the other side okay so I want to I want to make sure that everything is equidistant it's slightly not okay because every the the head is showing more of its left side than the right side so that means that everything on its right side is a little bit foreshortened just ever so slightly and that that little slight foreshortening is going to help the believability of it so it's like almost equidistant but not quite so now okay another another line that I'm going to use by going across and you'll be able to see this when I I'm going to have to zoom out to show you everything here but I'll do that in a little bit all right so I I know that based on these perspective lines I can now just curl this here I can honor my original angle of that first horn there we go and I can always adjust as I go later there you go that that's how you would do it cuz a lot of you know what I I used to do the same thing where I didn't tilt the head correctly and it then it sucked okay okay um this body man why don't we make it very strange huh I mean this thing already is weird why don't we just make it even weirder like the shoulder can come out here yeah there we go so I'm going to darken up that I guess you can call it an antler antler like that all right well I'm starting to get the body in that's that's a very important thing you get the body in you can feel a little bit better about what you're drawing all right so the elbow to this sucker since this is the flat ground the elbow to this sucker is going to be slightly bent look at the weight shift of the creature so it's like everything the creature is tilted a little bit like it wants to walk or it's just scoping out its surroundings so that means that the elbow's going to be bent out this way now I want to put a I'm going to put some energy into this so that means that maybe it's dipping its elbow a little bit all right this strange side finger is going to show up over here but it's not going to show up the same way so maybe it's bent a little bit and see that claw maybe the claw is bent inwards a little bit here so we can actually see it bent okay this thing isn't from Earth we don't know how the gravity is from the planet that it is or the dimension that it is this knee this very strange knee popping out what I'm going to do I'm not going to dip it here I'm actually going to bend it upwards as if it's relaxing on on that leg but it's trying to move its shoulder kind of like kind of like wolves or werewolves you you see it in movies where they plant those back legs and then they dip their shoulders and their abdomen and they try to move with the arms so that means probably going to be off the page actually okay so here's the knee we we want to go up like this and maybe bend it up we're still going to suck in that that leg a little bit there we go so now that you can see the power I mean look at the outline that I'm giving this creature okay it's giving me a good starting point so that I don't have to figure everything out as I go later on and that there's a fine line between just inventing a creature just to invent a creature and also having an outline of a previously drawn creature and then adding details to it so it's kind of like you're still making it up as you go but you still have a guideline okay now I want to focus on this head because I'm I'm really intrigued by what I drew here and I didn't know how it was going to turn out but it just just so happens that I'm pretty happy with the shapes um some things will change a little bit but I just I have to be careful of that perspective so uh my previous video proba want to check that out where I you know teach you guys how to draw a car so check that video out I I tell tell everybody that when you draw in perspective and you flip it on that other side you got to be careful about how things are turned and how you how you skew it and shrink it okay all of this stuff is viewed as if it's already stretched out to the farthest that it can be based on the creature's bone structure on this side it's going to be slightly skinnier all right so that means that this angle coming out here with this weird shape if I do the same thing over here it's going to be slightly sucked in a little bit and flattened for that little hole okay so you got to be careful the second thing sit over your drawing I'm sitting over it I'm not tilting my head not doing anything like that there we go okay and now I'm going to add in that other tentacle I'm just going to slightly go down here at an angle just going to walk myself over here and I'm not going to draw the tentacle the same as I did the other one you don't want to be monotonous with your stuff right when you're drawing these things tentacles go everywhere this my good friend Dave Melvin who's an awesome creature designer he always said it's good to add a little bit of Chaos in your sketches cuz it just it just looks more natural okay think about a jellyfish think about an octopus think about those tentacles that come off of it not one tentacle is floating or moving the the same as the other so imagine a Creature From Another Dimension with these crazy tentacles coming out and you know they're they're moving in all kinds of directions you know like this one's flowing down here what if this one was bent up maybe it has to use those as sensors like I don't know okay um let's put some more detail in this face I'm going to show you firsthand cuz I haven't done this in a while I'm going to show you how I use graphite and black prismacolor together I'm going to tell you why let's put a very very nice coating of graphite across this again look look everybody look how far away my fingers are from it I'm not going like this don't do that instead put a nice coating Down Start light so when you when you go over the second pass from your previous one don't push harder the graphite layers itself okay yes it's not going to be darker right now you can always add the darkness in later by pushing harder for a second pass at layering okay like I said when you get to like the six seven 8 n 10 hour sketches you're going to probably give a pass of maybe 8 to 10 Strokes or I'm sorry passes of uh of uh shading okay here we go so this is this is good this is probably like four passes for the graphite you can see the different tone versus right on the side of it so this is the cream color of the mol skin now I'm going to take a nicely sharpened black Prisma color not the verin it's not a graphite pencil it is the straight up black colored pencil that comes with the sets you can actually buy these separately if you guys are interested and and buying the exact tools I'm using right now there are there are links directly on the video so you just look at the screen you can see my store uh you can purchase these you like Faber Castel pencils and then black Prisma color and the mol skin sketch pad all right here we go not pushing hard remember I use this cuz this is wax that's graphite if you don't want to smear the graphite you mix the wax on top of it that helps it not smear especially if your Sketchbook several months or even years old and you open and close a Sketchbook you ever notice that happens to me like you have a Sketchbook that's seven years old and you're just like man I really like that drawing should have kept it clean and I didn't put graphite on it or uh black prismacolor now you're going to start to see a whole different ball game happening and to prove this I'm going to zoom in so you can actually see what I'm doing oh that's the wrong way there we go check this out guys look at that new texture happening watch just pencil go across this page just follow that line watch as I go into this area look at that you see that roughness happening in there it's beautiful but you got to be sure I mean look how far back I'm holding it on the actual tip of the pencil that's that's the key to it okay now the further up you hold your tool the more finite details you're going to get within that drawing always remember that now that's not to suggest that you can't draw like this no hey remember a couple months ago somebody in the comments told me I drew like a 5-year-old I don't I don't even know what that means but cool man all right so we're going to turn this we're going to hit this in a different direction let's go again I'm not pushing harder look at The smoothness Happening Now now I'm I'm committing you have to commit which means when you like if you ever looked at your drawings and you find a a place where you stopped shading and then you picked it back up to continue that picking back up Point happened to be darker than the other point and you have that weird Darkness like the blotch it helps if you just the whole Direction going all the way up okay so that means that I'm going to turn this the other way and I'm going to do it one more time going this Direction all right so I'm just going to do this very light now look how smooth that looks and look at that texture you get for it okay so let's zoom out I'm going to show you what I mean check that out look at that really cool it it almost looks like you took your finger and you wiped it or you had some graphite powder and you kind of spread it around there okay I'm going to take my pencil again and I'm going to go over that so by the time I'm done with just the head it probably has almost 10 different passes of a mixture of graphite and black Prisma color so let's do it one more time maybe two there we go so what this does is it helps fill in the gaps because of the roughness of the black Prisma color all right so let's zoom in here again so you can actually see so the black Prisma color sits differently than graphite graphite is skinnier like every single spec that is detached from the graphite pencil it it fills in the the the grooves of the paper differently than wax so you have to go back over it and get a tighter fill in for the for the graphite so by now you got a super smooth section to work with now one of the here's the thing where you got to make a choice um when it comes to a fully finished creature you can make most of it with the black Prisma color or you can use the black Prisma color sparingly and devote 85 90% of the drawing to just be graphite and then have the black Prisma color be the dark darks like parts of the Sha or parts of the creature where the there's no light source like holes in it there's porous openings there's exoskeletons maybe you got maybe you're drawn bones and there's an eye socket that's really really black okay there's that so I think what I'm going to going to do is I'm going to keep the head mostly um black Prisma color I'm just going to kind of edge this area off a little bit okay like I mean look look at the power of the black prism color see in here where the head splits apart watch this boom and then you just fade it off and look how dark that gets now you can do that with a pencil it's fine like if you have an HB pencil or a 6B I mean if you're getting any past 5B might as well just use charcoal so okay once we have this I'm just going to start putting in some details here with the black Prisma color and I'm going to darken up where the Shadows are eventually going to exist and then I have to use a black Prisma color differently than I do graphite okay The Strokes are going to be thicker and it lays down on the paper differently than than graphite so I'm just kind of walking it over like this do you see the difference between this shaded area and that shadow how they meet right there you can either keep that there as a ridge or you can fade it in if you want to fade it in you use tiny circles now why do you use tiny circles and don't go straight across like this it's because when you use a circle and you start to shade when you go back around on the circle movement it fills in the gaps you previously missed if you were to do straight across Strokes like this you're going to have streaks and then you're probably going to accidentally have a darker Mark and you're going to screw it up again you're going to have to keep going back over it and then you get your eraser and you screw your picture up so that's what happens all right so down here I'm pretty confident about the shape so I don't have to worry about any of the markings that I put down so this is where I walk the shadow up like this see like down here it's going to be darker so I probably want to darken the teeth too it's just a really nasty creature man really really gross okay so to let let's do some more of the actual head so let's zoom out here a little bit I'm going to do more of the head all right and then just to kind of show where things might go there we go see how I'm just kind of walking the pencil over that's fine right like that in a little bit here we are going to jump to some time lapse okay because this drawing is going to be a little longer than normal and so right here I'm just going to kind of walk you through all the little details that I'm doing and then I will tell you when we're about to jump into some time lapse here so you can watch as time goes by just relax and you know draw along with me you don't have to draw as fast as it's going to be but you're already getting the gist of how I create these things and then later on once the time lapse winds down we'll go back into normal mode and I'm going to show you how I you know put some finishing touches on it and um tie up Loose Ends so you can really see what's going on all right so without further Ado let's jump into some time lapse and you're going to see this thing form into something that you don't want to meet in an alley all right let's go [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] all righty welcome back first of all thank you so much for you going through the time lapse I love doing those um those of you listening right right now I have so many creature videos that I'm going to post over the next several months I mean we're talking well into late spring early summer and Beyond where I'm going to time-lapse the entire 6 to 10 hour process put some cool music on Just draw some really freaky stuff now most of the time when I draw these creatures for you guys it's just a simple stance so you notice the ground plan is right here you know it's like a hulking mass and it's and it's directly f face forward like this it's just for easy viewing there's going to be some more complex stuff you know and if if you like what you've seen so far and you're learning I do encourage you to like And subscribe and comment I love reading the comments I can't get to them all cuz I'm I'm starting to get a lot now which is probably a good problem to have it does help the algorithm but it's also a good problem to have uh it just means that you're engaged and you know it really motivates me to keep going too cuz I love teaching and I love the way or the direction that you know the channels going on YouTube there's a lot of really cool stuff that's about to happen and I can't really say yet right now I'm focusing on all of the elements of the creature that are directly in front of us so there will be some atmospheric perspective coming in specifically with tentacles we can't go love crafty and without tentacles folks okay just nasty tentacles stuff now all of this stuff is going to stay relatively loose and here let me zoom out so you can actually see what the the head looks like so this is the headdress this what it looks like up here maybe when I start shading the tip up here I'll zoom out but I still want to do some work down here before I you know get that going all right so let's Zoom back in halfway okay let's get going there so in here I don't really need to show too much detail but I do want to show some outline of some tentacles that could be coming your way now as I mentioned before one of the coolest aspects that you can put to your creature sketches is chaos chaos is the ability to show movement and unpredictability within your Creations uh it's hard I know I know it's we we have these specific images in our head of what we want to do based on other images from other artists that they've done and what that means is their stances the armor they have the the weapons the guns they're holding all that stuff it's up to you to be your own concept artist because you are an idea Factory you need to do stuff that nobody has ever seen before the problem with that is that a it's hard to invent things that we haven't seen now you can take things that that has been done before and put your own spin on it which it's kind of a polarizing subject but fan fan art okay so everybody wants to do fan art and I'm not really trying to go in a little side ran here but I I I feel like I need to address this now that the subject has come up fan art is cool if you do something new with it but at the same time you don't really learn anything by doing fan art because you're just doing art that somebody else has done and if you're a freelancer wanting to get work the chances of actually finding work based on fan art are very very slim to none yeah there are companies out there that want to do fan art but at the same time why would they hire you and they can just hire the original artist so unless you're doing it better than them there's no point putting it your portfolio doesn't help you instead do some crazy stuff craziness even if it fails okay it's better to try and fail than not to try at all and wonder if it was going to work okay now there's going to be some Mist that I'm going to put in here so I kept some of the parts of the tentacle light notice how the the Line Construction was not outlined perfectly coming up this way that's because I'm going to take my pencil and I'm going to fade off some of the graphite into the Mist I'm going to turn it into mist and then I'm going to go in a different direction to make it as smooth as possible I'm going to go this way and I'm going to cut across the tentacle and voila it looks like it's breaking the plane of some kind of Misty Cloud coming through all right and this tentacle is going to be closer than this one so guess what this is going to get a darker treatment so I'm just going to darken this tip Walk The Strokes backwards like this and all I'm doing is I'm doing the thick to thin lines like this so if I go over here and I show you thick to thin thick to thin thick to thin if you get used to that mechanical movement with your hand your hand eye coordination your brain It all becomes second nature I don't even think about it anymore all right and we don't need to get super detailed about this section look foreground Middle Ground background Middle Ground gets a little bit of love but not much cuz you don't need to I'm not selling you the tentacles I'm selling you the face you don't get excited about the tentacles you get excited about the face and then you wonder what kind of creature has that face and what they're packing and in this case it looks like some pretty deadly tentacles and like I mentioned before they might be some little suckers on there um you know I don't know some kind of octopie suckers maybe you can put that on the side there I can put 400 on there but I don't really want to do that maybe there's some up here like little suction cups that by turning the tentacle this way you start to see more of them and then it starts to wrap around you know you have a lot of fun with this stuff man okay so a really important part of this particular creature is what's happening under the belly okay now I'm going to show you a little trick have you guys ever drawn anything and you're worried about sketching over what you previously shaded well if you built your values up correctly you don't have to worry about that so what I'm going to do is I'm actually going to take the black Prisma color you know the wax that you can't erase and I'm just going to go over all the stuff that I drew pretty trusting of what I put down huh but there's power in this okay because I already trust the values that I laid down previously remember it's about layering it's no different than a construction crew taking an excavator digging out giant holes of where the basement's going to go for a building then you put the pylons in and then you just start building the foundation it is no different the stronger your foundation the better your Art's going to be this is why and I taught Foundation drawing before people went into graphic design fashion and Industrial design the better your foundations are the better your work's going to be and of course you also learn as you go it's like yeah you might be an awesome artist and get hired into a job but your skills usually don't really Skyrocket until after you start the job cuz then you really start to learn so you see this kind of Misty effect under here so I for the third time I just watched a movie last night um comment below if you like it if you don't like it or you have no idea what I'm talking about but the Outwater okay the Outwater is a found footage movie say what you want about found footage I love them if they're done correctly there are many bad ones but they're also good ones speaking of found footage I'm going to show you what a dork I am look at this that's a list of all of the found footage movies I've seen look at that I just keep writing them down I was like oh I've seen that I've seen that I've seen that that that that that and I just got done watching dead wear that was okay but anyway uh back to being a love crafty and dork and don't even know where my page is here oh wait I think I passed it oh there's my car oh there we go okay anyway you know what I could just leave it zoomed out here and then I'll just start putting in some values I'm layering and I'm trying to be patient now why am I paying attention to this particular part of the body because I need to show depth where the belly is because I feel like like the back of the page was a little too bare okay and there's there's going to be stuff going on within the face and and mind you the face that does wrap around way underneath I mean this thing does have a neck I don't know what it looks like but we're going to leave it up to you to decide what it looks like remember this thing's traveling through atmosphere it lives in a physical place okay so we need to prove that it lives in a physical place we can't just tell we need to prove it we need to show it okay so that means that oh look at this now I can zoom in and show you what I'm talking about oh actually I'm going to zoom in even farther because I'm focusing on the head and I know many of you asked Bobby can you please zoom in more like yes okay I'll zoom in now you see that value that's happening under there it's like it's walking through smoke the tentacles are going to need to be darker the great thing about this method is that once you lay down that Foundation everything falls into place I have this dark tentacle in the front we know that that is closest to us okay and then this one is even closer so guess what I have to do see this is how I check my stuff I got to make this even darker so I got to push harder with that black pisma color and I'm going to walk that up like this and I'm just going to kind of fade it into that Misty smoke of that horrible atmosphere that it lives in like this uh I don't want to leave these suction cups outlined because it doesn't look right this is me being technical now so I'm going to fill that in the reason I just switched to my graphite pencil and I didn't do it with my my uh prismacolor is because it's such a small area that the graphite fills in the grooves of the paper better than the black Prisma color I already have enough texture on there now I want to really get in there this is also the importance of keeping it sharp look how sharp that is you haven't seen me draw with a doll pencil this entire time okay so I'm going to keep it that way and I'm actually going to give it a nice little darker outline here but I don't want to be cartoony with it so I'm going to do small little circles and I'm going to fade the line back up into the shape of the suctions suck suckers suckers of the suckers like this this still isn't right so I'm going to put that little core Shadow on there because technically this is a tube it's like a cylinder you know okay now this part I'm just starting to piece together things that may be under Shadow okay I'm going to indicate what's going on on that neck so I'm going to put in some value here turn the pencil put in some more value here and I love hinting at things that exist without actually showing you what they are okay so we know that the deltoid muscle is pretty pretty banging okay but I don't need to prove that to you that's up to you to decide what's going on in there but in here there's probably going to be large wrinkles because of the shoulder being pressed up against the head or the neck maybe it doesn't have a bit neck and I'm starting to see other areas where I can bring some faint tentacles showing in the distance here now look at all the depth that's happening okay this thing looks like it's deep it's not just a flat 2D image anymore the sucker lives it breathes it it will probably bite your head off okay this little area down here could probably be worked out some more so what I'll do is I'll actually bring very lightly like look how far back I'm holding the pencil pretty far back and my pinky is sliding against the image away from the graphite so I don't smear anything and I'm I'm taking this hand and I'm holding the paper down so it doesn't Bunch up and down and there's no wav see how it moves I'm very picky about this part of the process and I'm going to go over everything and I'm going to try to keep my Strokes very close together the closer together you keep your Strokes the better the shading is going to look the lighter you hold it the more control you have believe it or not because it will prevent you from pushing hard randomly that's how you get some of the streaks in your drawings too there we go okay now here's where it gets fun actually the whole thing is fun right in this area I'm I'm liking it okay so I'm I'm trying to think of okay what what do I have to sell I'm selling the depth I'm selling the face I'm selling the musculature and the overall bulk of the body in here I'm going to put the black Prisma color over everything I just drew and I'm going to walk it down and each millimeter that I travel downward I'm going to release pressure and I'm going to fade that off into the graphite that I already put down look at that texture that happens here so now we not only have cool shapes that are you know far in the distance I'm going to put maybe some like little spikes here uh these Spikes have to be darker than the surrounding graphite so it looks like it's coming off of the page see how see how that happened you just need to compare each stroke and your pressure to the surroundings okay so if something looks a little too similar then you have not done enough work for the shading and the the values around it all right so here I can probably get a little darker inside this area there's not much light happening but there could also be bounce light okay we don't know what kind of settings that this thing lives in so um I'm not going to go you know into too much detail with the entire body because that is going to be a to you and your imagination right there's much more power in suggestion than there is in final designs most of the time and to elaborate on why I think that it's because think about all the movies out there that were unsuccessful when they got converted to or think about all of the books out there that were awesome and then all of a sudden the movies were unsuccessful when they were converted to it and I know I've mentioned this before it's because you want to treat your drawing like you're reading a book all right if you guys are listening to this and you're you're worried about your stuff not looking realistic don't worry about it it doesn't need to look realistic until the design is good okay but if you leave specific Parts loose like I have with pretty much the entire body past its neck every single I mean the thousands of people that are going to view this video you all are going to see something different back there is that a wing are there 10 more legs back there is there another mouth you know and that's the beauty of suggestion okay because uh if you have a Sketchbook full of thumbnails and you show it to you know a group of people everybody's going to see something different and that's way more powerful so this side of the head isn't as important however the tips of the tentacle over here they they are important so what I'm going to do is I'm going to put slightly darker lines in there and then I'm going to fade that off this one's going to stay pretty light I'm just going to keep it in an outline all right now this tentacle is not outlined but here's here's where it gets pretty gnarly if you do it correctly I'm going to fade off some atmosphere going this way so I'm G to take my pencil and I'm just going to commit to it and I'm just going to move it this way and I'm going to tilt it this way and I'm going to move it again now this tentacle right here and the graphite that I'm putting down here are pretty much going to be the same thing Watch What Happens and I'm going to move it right over top that and I'm going to fade it up like this I'm going to turn it it again and I'm going to fade it again now why am I doing this cuz it's all a play on the values I need to convince you that this thing is moving through a physical space so then what happens is I look at all the surrounding values that I'm working with Okay so let's zoom in again so I can show you exactly what I mean this tentacle you've pretty much lost the edge good cuz you don't need it this tacle does have an edge so by showing this Edge you already know what that one looks like see there's that power of interpretation again so now I'm going to make this darker why because I want to show more of this it's happening it's happening closer to us now this dark line right here I need to get rid of that I don't like that so I'm just going to add some more darkness and I'm going to fade that line off now watch what happens I'm just going to get I'm going to do little circles I'm going to walk that line out outwards like this and I'm going to keep that same pressure and then I'm going to fade that off by little circles into that area that I did not finish on purpose and voila now I'm going to go a slightly different direction and I'm going to walk up some more Mist here and I'm just going to kind of Bring It above it okay maybe maybe bring some of this in here so now you're starting to see the power of atmosphere okay plus it's crafting and I mean I mean this universe that HP Lovecraft created with all of his work it's pretty disgusting and it's awesome and it's Fantastical and it's like if you if you love hellrazer if you love Event Horizon if you love the movies like you know the void and all that um it's it's right up that alley man I love it so like out here I'm going to need to put some value now I'm not going to put a lot of work on these arms but I'll put enough in here to show you that this is a little closer than what the mid legs are like this and then over here I'm going to do the same thing okay so I'm want to put some Darkness over here I'm not going to go over the scales that I drew because I want those to be a lighter value I want those to poke out there we go all right so let's zoom out and let's see what we got all right there we go okay guys I really hope you like today's drawing I loved doing this kind of stuff please like And subscribe comment below tell me about your day tell me about your art education tell me about your Journeys your struggles triumphs and I will see you in the next video for an even scarier creature than this stay tuned later

Channel: Draw Sessions

Views: 26,420

Keywords: drawing a scary monster, creature, horror, drawing, how to draw monsters, creature design, creature design tutorials, fear

Id: 5f7dhkBMT7U

Length: 58min 51sec (3531 seconds)

Published: Thu Jan 25 2024