Live Drawing - Character Design Tutorial!

[Music] you you are you where they had no audio yeah was I had no I said was I had no audio was I had no one else I had no idea for a second but anyway it's Thursday and so that means it's another livestream day for us and today's gonna be a short one I have to I'm gotta take my dad to the eye doctor yeah poor guy can't see so I got to get them to the eye doctor today so we're going from one o'clock to 2 o'clock so that I can take my dad to the eye doctor and so today what I'm doing right now I'm still working on my acting for animation course and there's another shot that I want to animate where I'm talking about subtext I start getting into you know we start with the basics and then I'm gonna get into some more complex types of acting and this one is all about subtext one of the last videos I'm going to be talking about and and so subtext basically and at least in this video I'm having a character that's eating some food that he really finds disgusting but he's going to try to feign that and everything he says is talking about how delicious the food is but you can see through his acting that there's something more to that so that's subtext and so I want to play with that and as I'm creating that as I'm thinking about that animation I need to come up with a character so I'm going to come up with a character today that's what I'm gonna work on also I want to remind you guys I mentioned it last Tuesday or this past Tuesday that we've got a brand new course that's available now for pre-order at creature art teacher dot-com that's my website creature art teacher calm my friend my good friend Ronny Williford has got a brand new course over 10 hours on plein air painting so it's painting outdoors which I know a lot of you asked me about Ronny is one of the best that I know at plein air painting it's done in both oil and watercolor and he's gonna take you through all the ins and outs not just the painting itself but what kinds of easels to use different boxes that you can create to take with you how to cut how to cut your panels how to Jessel your panels I prepare all that stuff but then also he takes you through the nitty-gritty of what to look for how to compose how to mix your colors all that kind of stuff and it's a like I said it's over ten hours worth of material there's lots of demonstrations within the course so go over to creature art teacher comm and check that out meanwhile for the other for the rest of you that have been asking me about my my acting for animation course sorry I had to turn on the fan kind of hot in here it's going to be ready hopefully in the next three weeks three to four weeks before Thanksgiving I'm hoping I've still got what's that that's the goal yeah I've got a couple more shots that I want to animate and then I'm also going to take you through in real time on some animation and so there's a lot to cover for acting for animation and so I want to make sure that it's nice and thorough Laura Sarah Thoreau is that Thoreau and and that you're getting your money's worth so be patient because it's coming meanwhile I'm gonna go ahead and start drawing but like always I've got Dustin right here say hi Dustin and then I've got Nick in Sarasota and he's also gonna help answer questions so you know we're we broadcast on multiple platforms at the same time so we try to get to as many questions as you can I know there's a lot of questions we don't get to but just keep visiting each week and hopefully we'll get to some of your questions down the road but I'm gonna go ahead and get started and I'm just gonna draw and talk and you guys can ask questions and there we go so let's go to the desktop Dustin yep so so here's this character that that I've just started sketching and like I said I he's this guy that he's eating food he's sitting uh and I think it's gonna be his son or daughter and they're gonna be little toddlers and they are not toddlers but they're young and they tried to cook dinner for him and he's trying to eat it but he's also trying to he's trying to be the good dad and just talk about how incredibly delicious it is and thank you for cooking dinner honey you know that sort of thing and so he's trying to choke it down the character I've kind of got a base idea of what the characters gonna be in my head and I kind of have this idea this shape in my head here I like big ears on characters for some reason I just do now I is gonna be about a third of the way up on the ball like so and I like characters with big expressive eyes I keep the eyes about an eye width apart just like in regular humans well I'll tell you I've got a polar bear on the left over here right there yeah so that's a polar bear that's right there that's a grizzly bear on the right no in the middle that's a grizzly bear in the middle and then on the right is an African lion so let's I'll show you so we've got polar bear giant huge largest carnivore on earth polar bear right there monstrous hey Nick just said rivers is watching the stream and he'll be right and nickel be right back he's changing a poopy diaper right here we've got a grizzly bear one of the largest carnivores on earth boom look at that you can just put my head right in there crush my skull and then here's a lion which lions are giant when you get up to them and this just really feels puny went in comparison to that polar bear skull well there's a lion right there and now but even that the teeth are the teeth are huge you know your arm off weight your head right off so there's uh those are my three skills there and then up on top up on the Shelf you probably all you can't see the show I've got wolf leopard coyote Fox and Bobcat actually this is a great skull for those of you that this is a real skull this isn't a cast I love this skull we've got lots of these in Florida oh you have it on yeah I hope you didn't see my but my big alligator skull that I've got I love this skull this thing's giant you can see this hope I don't drop it I don't that's a real one right this is a real one yeah so you can see that's massive this is a big this is a big Gator that's a very big Gator so that's my my alligator stone that's a real one that one's real I've got a giraffe skull back here I've got all kinds of skills but death is a wonderful room with death well let's go back to here so um here and I want a nice expressive nose nice thin bridge to his nose he's gonna come out like so bone clones mostly for for the of the cast's those are all from bone clones and then the real skulls I just find in various places I am NOT but I'm going to be giving out a lot of candy so here's a my basic character here this is my zero pose so to speak this is kind of the this is what I've got in my head I hope so thank you that's that made my day because Bob Ross is one of my favorites he really did so I want to make those ears go back just a little bit he got them sticking out a little too much with coming up and then I want that hair to give it a nice get a nice shape up on top of his head you know I'm gonna get a few angles there like so and then somewhat of a thin neck a long neck I'm thinking I might put him in a dress shirt like he's just come home from work he's got an office job maybe yeah I guess he could be yeah so there's that but what I really want to do is I want to explore expressions but I just drawn the same I did I drew on the same level let's do that I just draw a lot I really I really pushed through it every once in a while I do get a lack of inspiration and I just don't feel like drawing but I have to and let me see decently there we go I'm time my brain was shorting out and so I just forced myself to draw and I just worked through it just you just end up working through it just do it so now I want I want to try different expressions the idea is that he's eating food that is disgusting but he's trying desperately to put on a good face to work for the animation field about how many years in college is it to work for an animation studio before I get into name before you get into animation studio yeah I was in college for two years before I got hired but then I went finished my third year school yeah I mean it's whatever you and I know guys that never went to college that got in it so it really depends on you know you don't have to have a degree you know I saw a thing yesterday where somebody was saying you know you have to go to college because the studio's want to see you know that paper that degree that's not true you don't have to you just need to do be able to do the work you can do that work then then you know then you're able to get in now granted some people need college I think college is really expensive and so you might want to think about your options but you know I think there's a lot of other ways to get your education nowadays and you know if you would have asked me this a year ago two years ago I would have probably said something different but it's I think it's getting ridiculous how expensive school is so I think it's it's getting out of hand man so Nick Nick sent proof of the the poopy diaper reminds me of when you were a kid Dustin oh it's in my peripheral vision I can see it right now I can still see it I'm looking at my drawing and I can still see it I can smell it oh yeah I'm just not drawing any today well I was gonna say about the about work of going to college is the call is best for like making connections yeah it's I mean it's that but some people really thrive on working you know alongside the camaraderie of working alongside other people as well he's there we go and he's trying to smile huh I try you know the eyebrows for me are the real key so I try to establish those first and here he's probably squinting a little bit just spit on my screen periscope question how do you study so intensely and not burn yourself out you know what sometimes I do sometimes I you know I got to walk away but I just love what I do that's the key I really really love what I do and so I just don't get burned out you know I've been doing this for four I'm 50 years old I've been doing this professionally for 30 years and but I've been an artist for most of my life you know for a good 45 years ever since I was a little kid for me that's personal and I keep that personal so no I'm not going to talk about it too much if it's if you have your own faith that you feel like you want to put into your artwork then I think that's great I've got my own approach to that part of my life and like I said I keep that pretty much to myself and you know my my my beliefs are my own I don't like to know I I I have a strong belief and you know as you guys know trying to do good and and and making sure people's lives are better and trying to trying to help people out as much as I can and beyond that I pretty much keep to myself I think it's definitely a great start the best way to learn animation is to do it so you know take that if that if that's what you're using as as inspiration and a tool for learning that I say definitely and he's trying he's trying to smile I am doing a talk I didn't know I was doing a talk on mentoring and I'm gonna be part of the Mulan 25th anniversary panel so there's a bunch of us getting together that worked on Mulan and celebrating its 25th anniversary we're going to talk about what it was like to work on the film as far as talking about mentoring I don't know if I'm going to be doing that but I'm going to be giving some demos what's up I don't think it was I think it was when we were making trail mix up what type of music inspires you all kinds I love all kinds of music blues rock classical chill-out electronica kind of stuff all kinds of stuff yeah Samantha Youssef has got a great book called movement and I think it's movement and that for Anatomy it's really good matter of fact I wrote the foreword on the book I really love it and so I would really recommend that for creature type stuff anything by Terryl Whitlatch is gold otherwise just get out there and you know try to find as much stuff as you can in real life and also know there's a lot of stuff on the internet to be found as well but keep in mind books are books are a start but really getting out there and just getting your canvas dirty your paper dirty whatever it is that's the best way to learn playing with facial expression is this one of the most fun things that I find to do when doodling or warming up what do you find is a good way to warm up when working on art for me I like to do the same thing I like for warming up I'm just a lot of times I'm just drawing I'm not even really thinking about what I'm drawing a lot of times it's just doodling want to get his neck a little thinner so for me you know I don't usually warm up anymore I just dive right in here's what I'm trying to just try different expressions with this guy this is what I usually do when I'm coming up with a new character I'll try slightly different proportions squashing the face stretching the face always trying to remember that there's structure underneath you know you've probably been asked this a million times I'm I am new to your videos I'm currently looking to purchase my first digital drawing tablet are you using Waka I'm also looking at hue hue y-yeah yeah because I'm on a budget if you have any experience with who you know or do you recommend I don't have experience with Hulan so I can't say one is better than the other but I can say I only use Wacom and I've always always always had a great experience with welcome I love my Cintiq can you go - we don't have another shot do we of the shoot I wish you could see what I've got but I'm really I've got a 27 a 27 qHD which is basically just a really big 27-inch screen Wacom tablet and oh oh yeah are you doing your camera but I would love welcome so that's that's my that's my recommendation there the next question up from Nik is I can't seem to transition from paper to walk them any tips please well if you're using a Cintiq I think that's going to help you I'm imagining you're probably not using a Cintiq for me because I was using a Cintiq I had no problem transitioning so here I'm gonna have him call have you get that jaw down interesting directing I have actually very much so I don't know if I ever will but yes very much I have food coming up I'm working on my first storyboard this inktober have you worked as a storyboard artist or have any t-shirt yeah I haven't worked as a storyboard artist on different films that I've worked on and you know there's there's I've got a great course on our website by Lyndon ruddy on specifically storyboarding his approach to storyboarding Lyndon Rudd he's one of the best story artists I've ever met and and he has a great approach and a great way that he explains it but for me I approach storyboarding a lot the same very closely the way I said the way that I thumbnail might animated shots I think of storyboarding as thumbnailing an entire sequence and then animating you know like when I get ready to animate something I'm thumbnailing a shot but with storyboarding your thumbnailing a sequence so that's pretty much how I think about it so I try to freeze out dialogue freeze out ideas and find expressions imposes that are going to match those those phrases and then that's how I kind of approach my storyboarding I got at which question hello what should I draw to improve my drawing what should I start with you can start with whatever you want as long as you're drawing I don't know you personally so I can't tell you but draw anything that interests you if it interests you then then draw it I would stay away from cartoons draw reality that would help that's going to help you in in getting you know drawing what you know rather than what you think and then that will help you later on down the road when it comes time to design if you do want to do cartoons then you know it'll help you know everything we do Disney or Pixar or whatever it's all based in reality we bait you know they're all even the stories are based on experiences we will try to make believable stories that people can get behind even things as crazy as inside out you know those are situations that we can associate with and get behind and art is the same way you want it to start someplace that is believable so that's that's why I recommend starting with reality and then from there you can abstract okay you should drill up Dustin in this way so you can see I try to go very quickly and when I'm coming up with new characters I want to get as many ideas down as I can just paper I'm traditional when it comes when I go when I get away from my desk I stay very very traditional a matter of fact can you go to the camera I always carry a little satchel this is my arty if you gotta leave Arash calm leave Oh Roz calm these are really great handmade art bags that they that they make I get them they're very reasonable reasonably priced and you know I've got they open up and they've got all their I can keep all my pens and everything in here but you know I just got back from Japan I took this to Japan with me it's a great over the shoulder bag so you don't have to worry about it and you know here here so I think I just draw on paper there's some there that's a sketch I did in the park in Japan and Tokyo so I'm always I tried to jump back and forth there's a guy that was just sitting there eating his lunch so I sketched them but there's always I always like to go back and forth between traditional mediums and digital that keeps me I think it just keeps me more well-rounded so that's what I do when I get away from my desk I'm always I'm always traditional sometimes I'll bring my my iPad Pro out but not very often I think drawing from life is a fundamental that everybody should do as an artist drawing from life just really keeps you it's what I do as often as I can that's why I draw on that sketchbook and I I go to the park and I look at people and it's always you're observing and that to me is fundamental to creating good art is that observation um that's a good question I don't know I just fight you know usually it's a shift I don't want poses that are gonna be really even you know static even poses I try to find poses that are more dynamic or at least a shift in weight that's a good question that's really good when I I think every kid does it a little bit so even when I was a kid I was doing it but I wasn't really focused on that I was focused on getting animals and that sort of thing and it wasn't until I went to Disney that I really started learning the fundamentals of character design and how to approach how to approach you know cartooning and and that sort of thing so I think Disney so in my 20s my early 20s is when I really got into it oops I'm drawing using Internet reference how important is life drawing or doing concept art animation it's it's vitally important you can't just get by on just getting stuff off the internet that's that's a good way of you know for sometimes I guess but um it's vitally important to draw from life as often as you can so that you can you won't need those references yeah I'm trying to how do you decide on your subject matter to draw outside of these live sessions is it spontaneous like today I'm going to draw another bear-dog Center or do you plan ahead no it's usually spontaneous or I'll be going I'll go through my reference sometimes because I've got a ton of reference photos I've shot you know over the last 20 years 15 years whatever and sorry hold on thinking thinking and I'll I'll see what inspires me when I'm looking at all that I got a twist which question a 2 and then a Twitter question how many hours are usually doodle before getting into real drawing works I don't do any hours of it I might doodle for a couple minutes but then I just try to get right into it and then the Twitter question is what do I think of Matt painting some considered a form of cheat I don't know what that I don't I think that painting is beautiful never heard of I've never heard of it as some form of cheating I don't know him I have no idea what that means yeah I don't know what that means because Matt painting is still painting so I don't understand how that's cheating don't know what that means it's you can't you can't do one without the other so you have to do them all a good drawing has all of them so for me a big in ER is just out there drawing and trying to remember all of those aspects that make a good drawing what you know a good drawing so you can't you can't say okay I'm gonna focus on perspective today and forget about form or I'm gonna focus on form today and forget about perspective you can't you can't do one without the other but how do I draw from life where do I go if there isn't it really anything in the town that I live and come on I'm not gonna death that's it that is a that's a cop-out I'm just going to yeah I'm gonna be a dad right now and you're copping out there is always something to draw no matter where you are I don't care what it is you can be anywhere and there's gonna be something to draw so if you're not finding anything to draw in the town that you live in then you're not looking hard enough okay so I'm just gonna tell you that and you can disagree with me but I'm telling you as an artist that's been being that's been an artist for 30 years I've never been anywhere anywhere in my life where there wasn't something to draw there's people there's pets there's buildings there's whatever so there's always something to draw I have gone scuba diving a matter of fact there's a where I used to live we used to dive all the time because I lived right right off of a reef there's a I'm laboring on this drawing big time and we used to live right off this reef and we would draw there or draw there or we would dive there all the time we loved it remember go Dustin you went there with us a lot remember the Sharks we would see we did some scuba diving there too though yeah I did you weren't there remember I had I had the the diving bell where you go down with the regulator and the floating if the compressor would float up top yeah yeah no it's scuba you're taking air underwater yeah so this is getting a little bit I'm getting letting this one get away from me and see that's the one of the keys even you know having done this as long as I've done it I still struggle and I find that sometimes I'll find a pose or an expression where I'm going to open that eye up a little bit more where I struggle with it and it forces me to find the form a little bit more so it forces you to not in between lines forces you to see the action and the form moving in space he did the same thing with me when I was learning from Glenn I of course I was learning on paper so with him he always taught us not to turn our light tables on to just flip the paper see the movement and animate accordingly and that that really forces you to see see the form like I said and not the not the lines in between lines I mean the skin is I'll show you Barbara let's see here here's a TV paint and here's a here's some dialogue this is a shot that I did a while back this is one of the shots that's going to be in the in the yeah it does sound plausible enough tonight but can we wait till tomorrow let's wait for the common sense of the morning so that's a little shot that I animated a while back now if I'm I'm gonna take you back to a very rough version right in here here's a very rough version when I was scribbling it out I'm gonna take you to about here well actually I move in here so there's a key pose now onion skin is allows me to see the drawing before and the drawing after so I'm gonna turn this on my onion skin move on the light table and you can see let me see here we turn them up a little bit cuz they're turned down there in green you can see the draw green and purple the one in purple is the one beef coming up after and the one in green is the drawing before and I can turn quite a few of them on like so and I can turn the ones in purple on like so it allows me to see any number of drawings before and after so as I move through let me turn this off well as I move through the animation timeline you can see the drawings before and after change as well so that's onion skin now I usually just if I'm using onion skin I only turn on the one before and the one after that's all I really want to see and I keep everything else I keep everything else kind of in my head but that's onion skin right there if I turn on let's finished one you can see because I have all the in betweens the the drawings get much closer together rotate the drawing without rotating the paper I don't know I don't do it I'm sure there's a rotate somewhere but I just don't use it where would it be I don't know someone else will know but for me I just don't use it so I just don't worry about it let's go back to photoshop I haven't seen a whole bunch of I guess the what we sell in the house that everyone loves so much animated something house I can't remember yeah you you have posted something about how you liked it so much yeah but um for me good horror is not what you say Monster House yes Thank You vanta so um you're gonna have them smiling for me good horror movie is not blood and guts I hate gore there's that that's just that's just cheap it's a low-hanging fruit I want really good smart horror films something that makes your mind go whoa yeah the one I'm watching now the one the Vedanta and I've been watching is haunted house on the hill no it is a haunted house on the hill oh the haunting of Hill House that's what it is and it's on Netflix and that's been really good that's that to me is good horror filmmaking yeah usually for me a good a good horror movie is one that makes me not want to see that's you've never been good with horror films well they're just yeah I don't like I don't like the like hostile and The Hills Have Eyes and all that crap I think that's crap anything Rob Zombie makes his crap as far as I'm concerned it's just blood porn I'm not interested I'm going to push that chin way out yeah I use Peter in the wolf as an example in my character design course I actually designed the characters you know for the course I designed characters for Peter and the wolf my brother Travis was in a play in kindergarten and Peter in the wolf he was the bird apparently can grope tea and TV paint by holding ctrl + alt + click and then drag let's try it let's try ctrl ctrl alt [Music] yeah using a Mac so that's what I'm doing right that just moves it around here we do it this way there it is I found it that's it I was hitting command oh that oh if that's what they're hope I misunderstood that question that's super easy you do this you come up here and you click on this and you go orient whoops we grab it come on let's not let me grab it you know it is but there's a thing right here maybe it's because it's too big I don't know why when we do this let's do this I'm going to go to another there we go let's do this one get returned and you can see I can rotate it that way if I grab hold of the little circle I can rotate the character without rotating the paper and that's how you rotate the character it's this tool right here it is transform it's the transform tool yeah so here he's trying to smile how we doing on time we got 15 minutes you try with the Archy oh I guess in TV paint you can just do it with the our key that makes sense oh no I'm hitting the are key and it's our Kelly I'm hitting our Kelly that's I'm hitting the Archaea I didn't do anything I don't know what that did just give me a box now I just got big giant crosshair so I don't know what's I don't know how to get rid of that now I'm trying I don't know why it's doing that [Laughter] yeah I got rid of it this is - it just get rid of it stop being a dork so bad it's so horrible I know it's a tragedy it's a it's a unique ending well no one goes there don't go there yeah it's really hard ah see no I tried tying that down a little better maybe want to do this but you know how to time your animation for instance where to put more or less frames in order to do fluid animation it really depends on the where you want the movement how quickly you want something to move across the screen where you want something to hold that's and that just comes with time you know as far as how you do that it just comes from experience yes the biggest thing that I see is the inability to change shape the character a lot of character designers will young character designers will design a character and then they'll try different expressions but as they're trying the expressions they're never changing the shape of the silhouette and I'll show you what I mean let's me let's say let's say we have a character let me turn these off let's say we have a character that looks like this I'm going to do something very basic so we've got this character and he's kind of roundish it's got a little almost like looks like Charlie Brown and he's got see hold on hold on still working still answering the question so this is here's a character right I'm just gonna show the just ahead so so there's a character really quick and then let's say we want to try a different expression I'm going to knock this back I'm gonna do a layer on top of it so now what the comment the problem the common problem I see is someone that does this they draw the character and they go okay here's the head but now I want to show him with his big expression so he goes ah and we go ah and here's the nose and here's the mouth ah like that so there's there there's their surprised expression okay and when I click back and forth there's no real change to the outside of the head okay now what I would do is I would go here's the eyes maybe make them really big let's push these eyebrows way up maybe pull the nose down a little bit because we're gonna stretch don't don't be afraid to go further with it further it further with you click there and then what are you gonna get you're gonna get a mouth a face that's gonna change shape so now you can see the characters changing shape even in this I'm it's pretty held back but don't be afraid to change your character's silhouette shape squash and stretch that's what makes our animation more dynamic so that's that's the that's the most common mistake I see in character animation and character designed and even this one this one I probably should have pushed even more but here it's a little bit of a squash let me let me show you a my character that I'm that I'm working on let's try it with him so let's do not to worry about pushing the boundaries yeah so here I'm gonna really scrunch them up and put a lot of food in his mouth and scrunch them way up and give them a kind of a still a big chin get those eyes all scrunchy I'm going very scribbly with this ears hair well go very very quick but then let me knock that back now maybe he's coughing like I want to do the same construction and now I'm gonna open that mouth I remember he's got a jaw a note I'm gonna keep the nose in the same place but maybe we stretch it downward a little bit maybe pull that lip up he's gagging a little bit pong say hello to Brazil please hello Brazil but as you how do though Appetit go though for for tuning in so here I want to stretch that face out pull those ears down bring those eyebrows way up open those eyes way up there see now when I flip back and forth between the two you can see that squash and stretch like that so that for me is that's a that's a that's a fundamental for good character design is finding finding how you can change your character's shape but still make it feel like the same character right we still want it to feel like it's the same character and here is like kicking kicking all that there we go like that so that that for me is working you know getting shaped changing your character design when were you at Disney did you ever work with caps yes we did work with caps we worked with caps for most of the time I was there and it was a very buggy system it was but it was our it was our proprietary for those of you that don't know it was our proprietary digital system for tracking everything we shot our scenes we colored we did everything in caps the other question did I apply for Disney or was I found was it difficult to get there and what courses they take at school that's a lot of questions I trained as an illustrator why you know I said I came up I started when I was in school animation wasn't a big thing it was it hadn't made its resurgence yet I started college in 1986 and animation was just about to get shut down as a matter of fact and but by the by 1988 they were looking to expand and they were doing making a film called Oliver & Company and they were looking for interns like they said I didn't train as an animator I trained as an illustrator but I thought it was interesting and so I put together a portfolio and submitted it for this internship and they picked eight of us from across the country their goal was to see if they could teach kids from really good from schools that had a good foundation and drawing and painting they wanted to see if they could bring them in to Disney and teach them animation and so I was one of eight that got chosen for this and we got brought in and lucky for me Glen Keane the great Glen Keane that did a Little Mermaid and Tarzan and the beast and all that he was my mentor he taught me animation and and so from there you know I was hooked and at the end of my internship I was hired to start after I finished school so I finished school in 1989 and went to Orlando and that's where I started started working and the rest is history as far as what I studied in school I just studied basic drawing painting illustration composition all that kind of stuff no animation though and I did figure drawing say hit I'm gonna say hello to Russia hello Russia Italy Italy buongiorno Greece hello Greece USA Japan konnichiwa Canada how's it going a hungry Malta hey Malta Portugal obrigado thank you for watching Cyprus hey Denmark how's it going Denmark France Bonjour Germany yeah I forgot how to say uh hello Germany Egypt Hey basically the whole world hello Egypt and hello to the whole world we've got a whole bunch of people watching from all over the world this is why I love doing this kind of stuff because I get to talk to everybody all around the globe even if it's really late for you so it is time for me to go this had to be a really short one I am so so sorry that I had to go short but blame it on my dad he's got to go to the eye doctor he had cataract surgery last week and we got to do a follow-up and so I got to drive them there I got to be the good son got to make someone's life better even your dad's your parents your sisters your brother's your strangers whatever so I'm gonna get going I hope you learned something with this a little bit you know if your character designing you know don't forget to play with shape change in your characters you know that's the basis for good animation here I want to leave myself enough room with this character to really get broad with it so you can see there's that you can see how broad I can get with that with that character and that's the basis for that and I'm gonna turn all those on whoops turn those off there we go and so these are some of the other ones that are probably I have to go through this stage before I can get really a good handle on it and then once I get these characters simplified a little bit more than what you see here I can get really dynamic with them right now there's still a little bit clunky and it just takes a little while to to get it down but anyway thank you guys so much for watching remember to go over to creature art teacher dot-com and check out the new course from Ronnie Willeford on plein air painting it's painting outdoors it's an oil and water color and it's an amazing course it's over ten hours of instruction and and you can get it for forty five percent off if you go over there now and do a pre-order so check that out it's really great and I'm gonna have my acting for animation course coming up hopefully in the next three weeks four weeks that's what I'm focusing on I'm shooting videos every day if I'm not shooting if I'm not doing a live stream I'm working on my course so so there's that and also we're coming up in the next few weeks we're gonna be at CTN that's November 15th 16th 17th and 18th I think and yes it's a I think it's a 15th through these through the 19th or 17th through the 19th or whatever anyway that's those so that the block of time I'm gonna be there Dustin's gonna be there next gonna be there Steve's gonna be there the whole group Ronnie is gonna be there so oh yeah so hopefully you guys would come on out and see us there yeah and Vedanta is gonna be there so that's in Burbank California it's an awesome animation Expo we're gonna have a great time I'm going to do some demos some courses of talk maybe I'll have breakfast with you who knows so check out Creech our art teacher comm go to CTN and I will see you guys on Tuesday and Tuesday the day before Halloween Tuesday we're gonna do a Halloween theme so come up with something and maybe I'll do a request very good so I'm gonna do let's make Halloween a request Day Halloween themed so be thinking about it and tune in at 1:00 p.m. Eastern Time on Tuesday that's what I'm gonna see you next and I think that covers everything so thank you guys again so much for hanging out with me just even what if it was for a little bit of time and as I always say go out and put some beauty back into the world be an artist make something beautiful do something good for somebody change a stranger's life just open the door for somebody put your grocery cart away when you're done and with that Dustin [Music]

Channel: The Art of Aaron Blaise

Views: 80,410

Keywords: Animation, Photoshop

Id: CuTF9sBNDsw

Length: 60min 47sec (3647 seconds)

Published: Thu Oct 25 2018