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Video Design Cinema - EP 85 - Mythological Creatures

TheTV.info
01:56   |   106K+ views   |   06/21/2018 at 21:52

Transcription

  • hey everybody and welcome to another
  • episode of design cinema this is Phase
  • II speaking this is episode 85 and it's
  • been like 10 years since we recorded a
  • new episode probably because I've been
  • super super busy lately with us just way
  • too many projects and things going on
  • I'm also on working on the movie these
  • days and that's taken up quite a bit of
  • my time so I apologize for the long
  • delay but let's let's jump right into
  • episode 85 and you are not watching a
  • frozen YouTube screen oops
  • there's something going on right there
  • there's actually in real time so I'm
  • gonna just let's do something a little
  • more casual so that way I could get this
  • thing recorded is a Friday morning just
  • gone to the office let's spend the next
  • 2-3 hours to try to get this thing
  • recorded and available for you guys so
  • I'm not gonna bother too much with
  • editing and making things nice and sleep
  • for this episode let's just do in real
  • time as much as you can so that way I
  • don't have to do a audio follow-up so
  • alright so what are you doing let's
  • let's draw you know I think the feedback
  • from the previous episode 84 was quite
  • positive in terms of kind of design
  • thinking and the stuff that goes behind
  • the scenes of a particular design so and
  • you guys requires a lot of character
  • stuff but I'm gonna do a creature design
  • for this episode and maybe with your
  • character one for the next one
  • so because creatures will be easier to
  • tangle a lot more freedom in terms of
  • the kind of stuff you could do so I
  • thought that'd be kind of a nice warmup
  • mostly because I don't feel like work is
  • super super hard today on this episode
  • my brain is pretty fried from the last
  • four days it is designing every single
  • day from like 9:00 9:00 a.m. audit to
  • about 8 p.m. or so I mean hold a
  • straight up designing pretty much fried
  • my brain so let's just do something kind
  • of fun alright let's put something on
  • screen otherwise guys are just staring
  • at a gray gray piece of background here
  • so they're doing um here's a little
  • title we're going to design a creature
  • slash boss character that I found
  • online yesterday I was doing a demo for
  • our students here I use the same theme
  • which is looked up some mythological
  • creatures for these demons and all sorts
  • of things from Japan there's just
  • hundreds of them and we could go to
  • Wikipedia and look I'm not typing
  • mythological Japanese creatures or
  • something you get like a whole list of
  • them and some of them are just so
  • interesting that they're begging for to
  • be designed into like a into a game so
  • that's what I do today I think it'd be
  • quite fun and the creature I decided to
  • do here is called the gosh shadow coudl
  • hopefully I'm pronouncing that correctly
  • which is a giant human skeleton which
  • I'll put up some references for there in
  • a second here so let's first do some
  • design notes because it's a continuation
  • of last week or last not max weakness
  • last last episode so let's give myself
  • some specs so again this is real time so
  • there's no fast-forward here hopefully
  • guys don't mind this episode I have no
  • idea how long it's gonna run for but
  • let's keep going here so I'm gonna keep
  • this kind of a dark theme and this is
  • part of I think a creature like this
  • will exist in a game that your party
  • already thinking of which is party
  • something like Dark Souls and the new
  • ones coming out pretty soon Dark Souls 3
  • we'll get back to that game in a second
  • here but it's made from from from
  • software which is a very dark gothic a
  • lot of evil elements and these type of
  • things and I thought it'd be pretty cool
  • if that's the aim we want to go for
  • right which is we're aiming it for a
  • project similar to that type of thing
  • like blood-borne and so forth so what's
  • our specs you we want a boss character
  • we're creature I don't know what this
  • falls on there it's it's kind of both I
  • guess we had to follow the spec which in
  • the traditional sense it's just a giant
  • human skeleton really but we're going to
  • make it our own this is important so we
  • don't just kind of a refurbish something
  • that exists before which is not a bad
  • thing when I try to keep oh maybe 80% or
  • 85% of what the spec over the world
  • original design says and then we'll add
  • our own 10 to 15% of changes to
  • according to where we need for gameplay
  • reasons and at this part of it right
  • here the third one here which is we want
  • to make this supergiant in the tradition
  • since I think in the later I'll show you
  • some of the reference images if you have
  • like a load Island right here like a
  • landscape the dude is like this big like
  • it's huge like this giant skeleton what
  • does versions of them being ginormous
  • like there and you know this is our
  • little house right here somebody that
  • which is pretty cool but it's pretty big
  • for a third-person hack game because you
  • your your characters like just like that
  • big right so you have to like put the
  • camera down hard you see it's kind of
  • cool but let's make it let's make it a
  • little bit smaller maybe maybe something
  • around this scale if that's a character
  • right here so that way you can see the
  • whole whole character your creature
  • within the single camera shot all right
  • so that's sort of what we're gonna do
  • next let's go into our references so I
  • put up in just a few really quickly this
  • morning when the Google typed in the
  • gotcha
  • Kudo and ended up with some of this
  • stuff plus some human skeleton
  • references so this looks like a pretty
  • old painting done for this for this
  • creature and you can see is a pretty
  • giant skeleton there's other forms if
  • this one's actually not super big this
  • one's actually within the scope of what
  • we wanna do you can see it's just a
  • human skeleton there's nothing more
  • extraordinary other than that it's a big
  • human skeleton here's another one I'm
  • not sure this is an ancient painting or
  • not but looks pretty cool it looks like
  • it's framed in someone's artwork pretty
  • cool looking but it's got a traditional
  • feel I didn't put any modern modern
  • versions of this thing this one actually
  • looks kind of modern judging by the
  • character design but I try to avoid a
  • modern concept part of this so we don't
  • get influenced too much from other
  • people's work we want to make sure that
  • we stay traditional to the spec of this
  • giant skeleton but at the same time we
  • come up with our own solutions other
  • than oh look that guy did a version of
  • this if it's kind of cool to just like
  • copy him so we don't want to get into
  • that round either because that won't
  • make our clients very happy let me take
  • a sip of water here I'm so hoping the
  • audio recording correctly because I'm
  • just like going sitting down hitting
  • record and I'm just going to go and do
  • this so if something screws up then that
  • that'll suck big time so anyway so I put
  • some reference to real human skeletons
  • because that's a good starting point
  • since it is a cue
  • skeleton and then we'll talk our way
  • into the various these are directions we
  • could take this guy so in a quick note
  • already I've brought up the Dark Souls
  • stuff so actually what were those guys
  • on a some projects last year from
  • software but legally I'm not allowed to
  • tell you guys what those are so on well
  • is great it was fun working with those
  • guys and I put up a little photo here
  • just to show you guys some some fun
  • stuff that last year actually earlier
  • this year with the visit them in Japan
  • as well from software in Tokyo so I
  • stopped by chat with the art directors
  • and producers and so forth there kusuda
  • check them out and I bet the whole
  • building is like from software it's
  • pretty hard to find where they are but
  • you get off in a certain station and
  • blah blah blah you walk you find this
  • building's like the whole thing is like
  • from software at the time they were
  • working on blood-borne it wasn't ship at
  • the time when I visited them so now of
  • course the game is out so this is early
  • I think in January or so super super
  • code and I thought this is a fitting
  • photo because because I'm wearing a
  • skeleton on my shirt there and we're
  • about to draw a human skeleton and it's
  • a project similar to maybe what they do
  • so be quite fun so anyways all hi back
  • that's not that's not look at pictures
  • of myself here that's kind of dumb okay
  • so let's keep the references up and
  • let's start sketching man so let me
  • start a new layer right here boom okay
  • I'm gonna start working like right on
  • this page so I probably mentioned this
  • before but the way I like to work is
  • very organic which is here's my
  • references yours are my notes
  • I'm going to draw right on here this is
  • Photoshop after all this is a digital
  • software you don't have to be like let's
  • start a new page right let me just
  • visually write this down so you guys are
  • not just looking at red no listen to me
  • talk has put some down because this kind
  • of thing where you put down a white
  • piece of paper like this this is really
  • scary because it's so clean and write
  • this down right it's super clean there's
  • nothing on it and now you have 100%
  • expectation to make this page look good
  • and for so with not a lot of experience
  • that's really intimidating actually even
  • for some lot experience is still very
  • intimidating because it's starting the
  • day with a zero
  • you know blank page and you're asked to
  • fill it with awesome stuff that's going
  • to make everybody happy and make your
  • clients all I go out sauce
  • and you have nothing to start with so
  • it's a little scary so like to do now
  • excuse me nowadays is mess this up a bit
  • have a piece of paper I just like blah
  • put some stuff on it in this case have
  • nodes and reference images and you know
  • somehow I read might bring strong stuff
  • just whatever ideas I have on the page
  • so it's just kind of messed up and open
  • some lines across it so now you're
  • working with a kind of a messed up piece
  • of paper and it just takes that
  • intimidation away at least for me does
  • it helps a lot so yeah let's just start
  • sketching on these I don't even separate
  • yourselves into too many layers
  • alright so fundamentals is important Oh
  • before I even get to this let's talk
  • about yesterday I had a student has a
  • really really good question which is how
  • far do you stray from the design spec
  • right which we rolled right over here so
  • designs back you know what I should
  • probably take a keep track of my time or
  • what are we okay we're about 10 minutes
  • in okay designs back so how far do you
  • stray from that or how far do you keep
  • it now so in this case let's write this
  • down right so what pretending our
  • clients something like from software
  • they want to evil boss character for the
  • player to fight so that's what we're
  • trying to get at and so let me just
  • rewrite it here real quick designs back
  • and essentially giant doing a giant
  • human skeleton right human skeleton
  • alright so that's what we're doing so
  • the way I could kind of break this stuff
  • down in terms of like how far can you
  • reach how much can you change like at
  • what point is it no longer a human
  • skeleton which will probably never go
  • that far but there is the traditional
  • sense of let's just draw a giant human
  • skeleton there's nothing we don't change
  • anything it's just scale scale it up
  • that's all we do but what's already
  • checked design so what I could do is do
  • three passes or three variations minimum
  • the first one is what I call the client
  • safe okay this is the version that kind
  • of is your insurance you're going to
  • think about it that slippery right
  • insurance okay this is the one that no
  • matter what you do for the other two you
  • have one that is absolutely sticking to
  • spec it's generally the more default
  • version or the expected version so in
  • this case if you just draw a giant human
  • skeleton kind of crawling around and
  • maybe have some moth or something
  • growing or something like that
  • you're pretty good to go that that is
  • the default super super safe version um
  • now the client like that who knows but
  • and these you're playing by the rules
  • the first one you're not going to piss
  • anybody off that the feedback that gets
  • you is like oh we we've seen this before
  • but at least they know that you're not
  • playing games of them you know like oh
  • man it changes those no longer human
  • skeleton my interpretation of the gosh
  • otoku row is a giant flower with the
  • spirit of a skeleton trapped inside and
  • lives in the island of
  • something-something right they're like
  • what the hell are you talking about man
  • you know we want a giant let's see I did
  • so this one kind of keeps it on spec and
  • now you can start changing this slightly
  • as you go to the second and third so the
  • second will be my version will be client
  • plus your version so not my version
  • we'll just write your version but we
  • still want to stray too far from the
  • formula to the client what do they want
  • they want to join skeleton I do do do do
  • do do that's what they want
  • okay so what can we add to that that
  • just changes this slightly towards a
  • slight different direction but we don't
  • destroy the spec it's still going to be
  • a giant skeleton for perhaps them just
  • right off this top of my head here I'm
  • thinking maybe it has multiple arms
  • freaking can't spell this morning
  • multiple arm slash legs okay we even go
  • as far as multiple heads that's a big
  • that's a big risky one but maybe okay
  • and maybe scale some of the smaller arms
  • down basically I mean by that is like it
  • has the major skeleton so it's like do
  • too
  • here's a little rib cage doo-doo-doo all
  • right and then it has like little baby
  • arms or something like that to pick up
  • the to fight with you because you know
  • that's there's the player-character
  • right there about that big got the
  • little sword he uses this big arm to
  • kind of smash you but maybe it's got
  • little arms I could pick you up or throw
  • that bodies at you or something so this
  • is kind of adding a little bit more to
  • the original default design of this
  • creature but still with inspect like it
  • looks like a skeleton as a silhouette
  • with little more changes to it so this
  • is the version that maybe the clients
  • think this one's too too default there
  • when I hear this verse it's kind of
  • interesting or maybe not take always go
  • back to default so third one would be
  • basically your vision or version okay
  • now of course you don't - straight away
  • it can be like oh my interpretation is
  • now back to a giant sunflower and the
  • sunflower has the spirit of a skeleton
  • or something you know that that just way
  • outside of spec most likely is still a
  • giant skeleton of some kind but now it's
  • like okay what else what else can we do
  • maybe it's like we'll play around with
  • material so instead of making made out
  • of bones maybe it is something else or
  • things like material texture scale we
  • only mentioned over here but we'll put
  • it down here again okay we could be like
  • silhouette so it doesn't maybe the
  • silhouette slightly different than the
  • human skeleton what they mess with that
  • and so forth and these are things
  • sometimes I decide as I start sketching
  • as well instead of that so this kind of
  • gives us the a nice range and these
  • three now if you could do six you could
  • do eight that's even better but at least
  • three and our insurance gives us a lot
  • of protection against the clients coming
  • back to you and go what what the heck
  • were you doing man this is completely
  • our spec so and that's the way I like to
  • work as well like right now let's start
  • - my little initial sketchy and on the
  • start with the part of the default look
  • just at least get it started so we have
  • something that's to spec and also it
  • helps more round right like if you have
  • a giant skeleton drawn it looks kind of
  • decent at least you got the default one
  • now we just have to go forward from
  • there but you can never go backwards at
  • least you have one that's somewhat
  • decent hopefully you pour water here all
  • right so let's let's start sketching our
  • default one out okay let's talk about
  • fun about those real quick so I put a
  • horizon line here the horizontal I put
  • here is to kind of place the players
  • head remember this is like a Dark Soul
  • type of game where you're you're about
  • six feet tall or something like that so
  • essentially this does is establish the
  • player character height by putting the
  • eye level here now everything I do is
  • looking up so if I draw my skeleton in
  • this range he's gonna automatically
  • appear bigger to you the viewer and
  • exactly the same to the player who sees
  • it versus for example we use a camera
  • with a high horizon for example - the
  • horizon line here and we - our VP points
  • this way well by doing it this way let
  • me just draw a really quick things you
  • can see what I'm talking about here if I
  • draw a skeleton in this range no matter
  • what this guy's like crawling so help me
  • say like something like this right
  • there's his head okay
  • the horizon is here so the only way to
  • get this camera shot and our player
  • characters about something like this
  • holding us on track - only way to get
  • this shot is if I might on the balcony
  • or I'm going on ladder because micro
  • Eisen is up here right so for character
  • to be at that level to take this photo
  • you can see if I could back down to the
  • ground line here's the ground line G or
  • Eisen line back to ground line okay the
  • only way to get this photo is if I'm a
  • giant ladder like so and I'm up here
  • because the horizon has a place to
  • camera right so here's a photographer
  • either like that or I'm on a balcony now
  • you could do it like this you could take
  • a shot like this but it makes the
  • skeleton guy look very small because I'm
  • looking down at him he's no longer
  • powerful I'm supposed to be designing a
  • boss character which I just wrote way up
  • here and I'll pass characters in this
  • case especially the Big C I think should
  • be intimidating so I'm gonna place my
  • camera just like what a photographer
  • would do in the in the best position to
  • show off the characteristic of this
  • creature and in this case I think but
  • when the camera low or two-player
  • horizon
  • is going to show off my skeleton quite
  • well so anyways in on top let's skirt
  • start sketching this thing alright so
  • let's start with a default so I'm gonna
  • start with just humans guts and I'm
  • gonna start really really rough okay
  • because we can always clean digital
  • software is awesome for that type of
  • thing because he allows you to let me
  • just move this guy over it real quick so
  • I can see my references as I sketch here
  • good anyways back to the point a digital
  • software like Photoshop allows you to
  • kind of costly clean and change stuff so
  • you don't have to worry about stressed
  • out like this first sketch has to be
  • awesome this has to be like the best
  • drawing ever because you know it's a
  • white piece of paper not to make it
  • badass no you don't have to make if you
  • just freeform think design sketch do
  • little mess around whatever it takes to
  • start to get your idea down so yeah I
  • worked really really loose on this kind
  • of stuff all right let's do the spinal
  • cord let's make this guy kind of in a
  • crazy pose like this so I'm gonna break
  • his Anatomy slightly not in the sense of
  • you know changing giving him multiple
  • hips and things like that but I'm
  • talking about his pose he's gonna be a
  • little bit more seeing this guy they're
  • all seem to be bending over grabbing
  • somebody because that's the traditional
  • description of him I think he grabs like
  • travellers and sucks their soul or blood
  • or something like that and then add
  • their bones to himself which in these
  • pictures doesn't actually show that
  • because you read the description says
  • that it takes the skeleton of all the
  • people he killed and kind of catch it
  • back to his own body not how that's a
  • cool look and we'll save that for our
  • own version maybe two or visual three
  • this one he doesn't have any additional
  • bones
  • so alright let's do that shoulder pad or
  • shoulder blade
  • whoa what the heck was that oh you know
  • what because I have the the wire of the
  • microphone on my keyboard it pressed
  • something you put it into that the anti
  • aliased motor some some okay so let's do
  • that this guy could be a little bit
  • bigger screw them up a bit I'll probably
  • draw a few of these and then maybe we'll
  • take it offline in terms of the real
  • time so that way we don't spend the next
  • 40 minutes or something just join
  • skeletons that is party play we're here
  • let's put the hip over here let's get
  • the arm first let's make it so he's
  • looking down at us more evil Bam Bam Bam
  • got a neckline there other side the
  • shoulders this was various elbows go or
  • arm do a huge bone and I'm just looking
  • up at the reference right there to just
  • sort of loosely see where the the human
  • bones are we could get away with a
  • pretty high level error here because we
  • are dealing with something that's not
  • existing it's not real yes it's human
  • skeleton based but we don't necessarily
  • have to stick with the absolute reality
  • of the human anatomy for this one we do
  • want to play with the scale and play
  • with the distribution of the various
  • forms to achieve what we want to do
  • which is make this guy kind of creepy
  • looking let's drop this guy to the
  • ground
  • I think right now his hip is a little
  • too high so I'm going to go ahead and
  • take a giant razor and just ditch that
  • and get back to this boom alright put
  • the little hip bone there spinal cord
  • goes back inside there and this is the
  • kind of stuff when I do my demos for my
  • students I also mentioned this is like
  • you look at things like this like man
  • that's a crappy sketch man that is like
  • done super fast and it's all news and
  • stuff how does something like this
  • become Casa Bart it's time that's all
  • it's time and patience because the most
  • important part of design is the form all
  • right let me flip my canvas real quick
  • once you have the form everything else
  • becomes much easier to do because you
  • have the overall things are done now are
  • you taste is time to clean them that's
  • all you do so for someone maybe who's
  • not in the industry for a long time this
  • joint looks completely crappy and loose
  • but for someone in the industry for a
  • long time this is actually the most
  • important part of the process because
  • professionals are able to clean things
  • up they could paint something for the
  • reals they wanted to they want to clean
  • up to a super tight line chart they
  • wanted to all of those basically the
  • only factor is stopping it is time
  • that's it
  • the hardest part is what the heck do you
  • put down paper that is the hardest and
  • the rough drawing essentially is that
  • phase so that's what this is doing it
  • defines the form it defines the internal
  • posture to scale the proportions all
  • that stuff's define at this stage so
  • even though it might look crappy and it
  • is I mean looks crappy visually but it
  • actually holds the most important part
  • of your design and the rest just becomes
  • really easy if you know how to clean
  • stuff up and given it enough time to do
  • so so don't be afraid of your stuff is
  • loose like this but of course for
  • someone practicing this you have to have
  • the patience to once you have this to
  • clean things up and that could take you
  • anywhere from like say two three hours
  • to save up to 16 17 20 hours to clean
  • something up depend on your skill level
  • and that is what completely within the
  • realm of this business so our first
  • students first get here I think most
  • they spend an average of
  • maybe three four hours or something like
  • that maybe if it neva not that I think
  • but you know let's just say three four
  • hours a day sketching then they realize
  • man to get it into a really good
  • comfortable zone you have to be sitting
  • something like 18 19 hours doing this
  • stuff every single day and line drawings
  • to clean them up take something like
  • that especially if it's a complicated
  • joint so that's all part of the game for
  • this one I have no idea how far take it
  • up I just clean up the sketch to be a
  • presentable level and then we'll just
  • end it there because I think this is a
  • fun exercise and it's mostly just easier
  • for me to get this episode recorded
  • otherwise if you're going to do this
  • photo-real and things like that we just
  • I just don't have the time for it
  • alright at least for now and I think a
  • nice casual this guy looks like it's
  • about to run a 100-meter race actually
  • but let's just start with that who cares
  • right let's be loose thumbnails the
  • whole point of thumbnail is to just
  • explore and think sketch alright so I
  • just got a super default like you cinch
  • that just to a skeleton I thought to run
  • a 100-meter race that's about it he's
  • not special he's not there's nothing
  • really stands out about him it's just
  • it's just a skeleton really he's got
  • some exaggerated features like a
  • shoulder blade is like the traditional
  • way will be like that I'm making this go
  • up just to break the silhouette a bit
  • but that's actually you know that's not
  • correct and things like that
  • like I mentioned earlier I'm not
  • sticking exactly 100% to spec you we
  • just want to get warmed up let's just
  • warm up with the skeleton
  • all right get this arm and there's
  • actually two bones in here but for now
  • don't matter
  • this guy's actually looks kind of weak
  • he's really skinny looking so let's do
  • it next one right looking at that side
  • okay let's do another default sketch but
  • this time start a new layer so that way
  • we could keep drawing here right here so
  • same thing horizon I established it
  • that's a part of hearing also - keyboard
  • clicks and stuff like that but can can
  • help with that
  • I like keyboards that has a nice
  • feedback to it I don't like the soft key
  • words maybe something guys have those
  • soft keyboards like you press it it
  • makes no sound or it makes no click I'm
  • like old-school man that keyboards that
  • has that little feedback of the noise
  • like when you hit it so imagine using a
  • very high-end PC with a really cheap
  • keyboard because the expensive keyboard
  • something they get rid of noise actually
  • don't like it so I replaced it would
  • take this like $15 keyboard that just
  • nice clicks with you are we click on all
  • right so anyway so let's draw it
  • otherwise so I'm going to start with a
  • profile skeleton with a skull and so
  • this one I want to do a girthy version
  • of the previous one and maybe make its
  • pose a bit more aggressive so I'm going
  • to do is I'm going to make the bones a
  • lot thicker all right do-do-do-do-do-do
  • man look at that it's like 25 minutes in
  • early so real time I mean that's
  • unfortunately that's eats up a lot more
  • space because things have to be figured
  • out as I go here all right so let's see
  • I want to give them a little bit of a
  • hope that's kind of creepy right like
  • it's called like a like a hyena or
  • something like that when they're hunting
  • you get this kind of crazy pose alright
  • so this got me make it much more dirtier
  • oops wrong button look just give in the
  • canvas
  • have a hockey for flipping canvases so
  • f/4 somehow I press f5 which makes that
  • other little thing up here okay
  • what is that let's not do that okay so
  • here's the ribcage kind of goes in damn
  • and it working on this now talking to
  • you guys is a little hard to get to the
  • mood because you know I have a voice
  • going here but if I'm working on this on
  • my own I probably put on some some music
  • that fits the theme which helps me a lot
  • or some something that has a nice theme
  • that gives me the mood at least in the
  • beginning stages once I have the
  • thumbnails done I could start listen to
  • podcasts and all sorts of random stuff
  • but in the beginning stages a lot of
  • these kind of projects I like to get
  • myself into the into the right zone so
  • this is for a kind of an evil game or
  • something dark soul which maybe put some
  • some harder music on maybe some metal
  • music or something like that just to get
  • you into the mood maybe some very gothic
  • like like tunes or soundtracks from
  • various films or vampire movies know who
  • knows you put some of that stuff on just
  • to get you into that creative mode so
  • your choice almost like your pen is
  • extension of your if your feelings and
  • your question and whatever your feeling
  • in the Indus now right through your pen
  • right on what this thing is I'm making
  • his a clavicle area like really really
  • massive maybe a whole like some kind of
  • power inside so now I'm start to mess
  • with the anatomy a bit mess with the
  • bone sighs let's make this guy crawl
  • more like creepy so I'm gonna make this
  • bone really really big here just
  • exaggerated that
  • BAM contour lines other sides over there
  • jeans over here this is a horizon line
  • alright let's flip it again make this
  • like really really big now made this
  • hand like about to like grab the the
  • player rawr come in
  • a little bones in the hands so it's very
  • very exaggerated in terms of the
  • thickness of the bones and things like
  • that but this is what these are it's all
  • about having fun exploring finding the
  • solutions sketch draw write notes listen
  • to music whatever it is to kind of get
  • your brains going and arrive at fun
  • shapes in the day this is all for fun
  • software video games and movies and
  • things like that
  • none of stuff really exists we're trying
  • to do here is to entertain people so if
  • you're entertaining yourself and you're
  • coming up some pretty cool things well
  • most likely going to be entertaining
  • other people out there as well so let's
  • add some hair it's kind of cool why not
  • all right so this guy this arm is
  • floaties are going to make sure that
  • this one is actually stabilized to hold
  • himself see let's see I'm on for the
  • elbow there because I put the elbow
  • there it kind of runs into my hand which
  • I wanted to be by itself so I'll just
  • run this hand over like this to hold
  • himself up Scott's doing like a one-hand
  • pushup
  • put the hand in this posture like a
  • monster posture you know I thought you
  • always seen it where was and and mummies
  • and stuff they always hold their hand in
  • like this cool cool pose and not this
  • dis pose like you're like there are
  • zombies have disposed to like just bent
  • in the in the wrist
  • so like that war is like it's closed so
  • it's all angry like that so this this
  • it's like making a fist but it still
  • have this pain of the on the elbow there
  • alright let's draw this okay
  • check out time Dan 30 minutes in really
  • so all right start sketching I like this
  • guy's hair is kind of cool good with the
  • play or that in a variety of ways later
  • now it's got nothing in the belly mmm
  • maybe add some stuff they don't wanna
  • add guts and all that kind of stuff but
  • I don't know maybe but that's kind of
  • get into more of a grotesque realm which
  • is not exactly what this client deals
  • with you know grotesque is a whole other
  • type of thing like you know Gods coming
  • out and all kind of stuff and I started
  • to push the entertainment value into
  • another realm I think that's more like
  • dumb what is that game where you're
  • trying to escape an asylum can't
  • remember the name right now but some
  • kind of know one of those kind of spooky
  • games and they kind of deal with that
  • they have things like gods and all that
  • type of stuff and I think a game that
  • we're trying to target here more like a
  • Dark Soul type of game I don't think I
  • deal with that as much they have cool
  • monsters and things like that but don't
  • deal with gore I guess is in a way even
  • though the game is extremely dark and
  • violent it's a different type of
  • violence than than the asylum game which
  • I just can't remember the top of my head
  • let's do this
  • femur I'm gonna make his shoulder blades
  • a little bit bigger so you see that now
  • so this is still really really safe okay
  • in terms of design we're not trying to
  • do anything crazy it is still within a
  • chart it's just a giant human skeleton
  • mantis that's about it see this one's
  • like the weak one this one's like a
  • thicker version starting to get kind of
  • cooler and it's also warming up you know
  • again I just came in literally into the
  • office like 20 minutes ago
  • sat down have a joint thing since last
  • yesterday all right so your first sketch
  • sometimes is a little little weak and
  • sucky so you get it kinda have to warm
  • up a bit here and this will get better
  • and better as the day where this sketch
  • goes forward hopefully who knows I mean
  • I have my coffee yet because it's too
  • early I know our coffee machine is still
  • even not even turned on I think so I got
  • a go and grab some of that later I'll
  • probably end up doing is a sketch like
  • three like two three more all right so
  • we're maybe hit like the 40-minute mark
  • or something like that and what I'll do
  • is I'll go and just sketch a bunch more
  • so that way you guys can sort of see how
  • this girl comes together and then I'll
  • show you a little bit of cleanup so
  • we'll skip some of it like a cooking
  • show thing that I sometimes do so we
  • don't bore you guys well hope you guys
  • are join along as well you know go to go
  • to Wikipedia find like a crazy mystical
  • master there's just crazy stuff man it's
  • like giant chicken and goes that steals
  • your clothes and there are all sorts of
  • random stuff it just it just sounds like
  • a lot of fun and just pretend your
  • client is say from software word or a
  • Capcom or something you're working on
  • devil may cry or Castlevania or or
  • persona or something like that it has
  • these kind of crazy creatures in it and
  • sketch have fun put good music on it's a
  • weekend coming up anyway so really I
  • mentioned this many times before is like
  • sometimes young young younger kids
  • trying to get at this business our way
  • to stress way too harsh on themselves I
  • look man we're wearing the entertainment
  • is treatment our job here is to make fun
  • stuff you gotta be in a nice fun relaxed
  • mood as part of it to remind yourself
  • why you're here in the first place right
  • it's like for me it's like every time I
  • draw these fun things on
  • thinking like Final Fantasy 7 and Chrono
  • Trigger in Tendo freakin robbed the
  • robot and all those kind of memories
  • kind of come back and whatever it is for
  • you you know that's kind of nostalgic hi
  • that when you're young in junior high
  • school in your elementary school and
  • play Nintendo for you guys maybe it's
  • our PlayStation 1 or something but
  • whatever that that feeling is it's like
  • that's why you're doing this right this
  • is why you want to be in this business
  • in the first place you have to have that
  • feeling of it's almost euphoria right
  • that kind of a natural high at least I
  • had a ton of them when I was younger
  • planes out there in all these kind of
  • games and just being in such a good mood
  • that you're in another world you know
  • like you're literally in the fan of
  • fantasy world or something like that
  • that when I draw this this kind of stuff
  • I'm trying to get that same exact
  • feeling the same high of man this is
  • like now I can work my make my own world
  • exactly like the kind of experience I
  • had when I was a kid and just putting
  • that kind of nicely for you I just
  • sketch don't stress out about it don't
  • get all nervous remember I'm not doing
  • this for Facebook or Twitter or
  • Instagram or whatever the house is
  • happening I know with snapchat or
  • something this is for you to have fun
  • the more you enjoy this stuff the more
  • you have fun with it the better your
  • work John it becomes the more you
  • stressing out the more trying to prove
  • to somebody or something like that
  • the more you going to stress out and
  • probably the work is not going to be as
  • fun because stress completely comes out
  • in someone's joints you can see when
  • something just labored you know looking
  • at students working like oh man you did
  • not have fun doing this assignment and
  • the funders even come out versus some
  • work it's super loose it's fun it's a
  • lot of creativity again you're like even
  • if the drug doesn't come out super super
  • good you can tell the students having a
  • lot of fun doing it and generally they
  • will succeed in this business because
  • you gotta get to do this for like 20 30
  • years right so anyways I probably
  • mentioned that bunch of times but it's
  • so important to to to enjoy this process
  • and be really passionate about it so I
  • can set up playing a video game you want
  • to sketch things then you know you're in
  • a good situation here alright so this
  • guy's looking cut a cool center lines
  • about
  • so he's a giant skeleton as well with
  • somewhat of a human anatomy but I've
  • changed the hips a bit I changed the
  • shoulders a bit just to exaggerate and
  • of course his ribcage is all super long
  • and twisty so I'll probably mess with
  • the skull for the next design so this
  • would be my still the safe version so
  • let's move him over to let's move to
  • over here some of these guys are almost
  • the same pose all right
  • new sketch let's put the price on even
  • lower this time I don't put it like down
  • here so he's gonna be a little bit more
  • even higher on the on this another
  • camera angle here boom boom boom boom
  • boom boom some basic perspective so for
  • those who don't know this is horizon--
  • goes to VP 1 and this one goes to VP -
  • alright vanishing point so I'm using the
  • two-point perspective I'm not using a
  • three-point there's no need really for
  • things like this and that's it that's
  • basics really basic foundation stuff but
  • so important to set that up so let's
  • just take a quick look at human skulls
  • here to see like a what else can we do
  • with it maybe we can offset it let's try
  • meaning that it's not exactly
  • symmetrical and see what that get what
  • that does so this will be my kind of the
  • second version remember I mentioned
  • earlier let's flipped let the back so we
  • have the client version which will be
  • these two if you render this out super
  • safe as I go ok that's that's exactly
  • what it should be so now I'm going to do
  • the the client version and my version
  • combined so here's a own so let's see
  • this is go off set this off setting is
  • always a little tricky
  • asymmetry on something that should be so
  • much symmetrical it's always tricky
  • because the you could turn on just to
  • look like bad art even say is like a
  • your eyeball is off something like that
  • so maybe I before I even try asymmetry I
  • try just messing with some of the
  • features out here like the teeth it's
  • always creepy
  • so it's all like the life may be dope
  • enjoyment further it's open a job yeah
  • make noise make sounds decal all that
  • kind of stuff it's good man bambam
  • that's almost doesn't look too cool he
  • looks like goofy gotta make sure it's
  • still like when you see this guy
  • for a first time you should look like
  • this guy looks kind of creepy here make
  • sure this guy looks creepy as well not
  • like funny I don't think that's what the
  • client wants
  • maybe it's like dripping stuff out of
  • his mouth it does eat humans and then
  • take those skeletons and all right so
  • this one I'm going to actually add that
  • into the design which is we're going to
  • take other skeletons and add it to this
  • one so it's got the main one what it's
  • going to be too big right now I like the
  • hair thing let's see what I could do
  • with that let's see let's add us some
  • more spooky hair all tangled
  • just wild like kind of some hair still
  • attached to the top of its hair and we
  • could have some nice in-video cloth work
  • to simulate all this you know the
  • physique stuff which is coming in really
  • strong nowadays pretty much every game
  • nowadays are doing really nice class
  • Sims
  • so we can do a hair and all sorts of
  • things to make this guy look really
  • creepy
  • so you can see here on her hair is kind
  • of wrapping this body in there flip it
  • to see is still cool or not okay that's
  • kind of cool
  • John skeletons and spines like something
  • like such I think young boys you guys
  • probably too scared I drew a bunch of
  • bones and stuff when I was in junior
  • high school and stuff just fun to draw
  • skulls I think listen to Depeche Mode
  • and Nirvana and these type of things
  • Metallica dude okay so now we need a rib
  • cage so we have two poses are both like
  • running the 100-meter race so let's
  • change this one so it's not running a
  • Olympic race here spinal cord MMMF am
  • shoulder is here alright so I'll show we
  • posed this guy let's see um he has to
  • stabilize himself let's just use like
  • sticks to target the pose actually let's
  • take a look at the original version
  • these ones are kinda like bending up
  • maybe with you that axe dead instead of
  • having crawling on all fours maybe this
  • guy is kind of sort of semi standing
  • maybe see oh I got it like kneading down
  • like like a squatted dude or yeah like a
  • squat like how a dog sits or something
  • so let's see that's a femur here that's
  • going to go up to about here something
  • make the see here let's make some
  • decisions here the femur is this high
  • then this bone is only this short it's
  • going to look kind of funny so we do
  • that let's put the femur here actually
  • let's put it here so squatting and with
  • this leg slightly open that's going to
  • go into perspective the other side is
  • going to be here to there which we don't
  • see but it's over there somewhere
  • now it's going to give us a pretty long
  • ankle bone but it's okay we'll
  • exaggerated there and that's going to
  • come back down the other side will be
  • over here
  • all right so it's got this hip bones
  • here that will arrive at a feet that
  • comes out to be something around here
  • that puts the other feet on the other
  • side something like that
  • he is pretty big the media that they is
  • pretty exaggerated I'll fix that up in a
  • second here but something like that I
  • don't know that looks cool now let's see
  • his arm shoulder is here this is one arm
  • I think the back leg has to be adjusted
  • too long the the ankle but the reason
  • I'm trying to do this is I could
  • stabilize him basically he doesn't need
  • to
  • oh this sort of works this sort of works
  • I'll put the other bone here
  • that way his arm does have to take the
  • weight because the previous one the
  • reason why it looks like a limp occurs
  • because his hand is supporting his body
  • looks like his legs about to go off like
  • band's gonna run the 100 meters this one
  • his legs are supporting his body now so
  • therefore his all the weight could be
  • taken off his arms allowing me to
  • restructure his pose but a bit it's
  • flipping this guy's are not digging for
  • something in the backyard
  • that thumb having a cigarette how far
  • this kind of stuff ever it's
  • photoshopped you raise everything so
  • it's actually designed is you have some
  • lot of fun with this kind of thing lotte
  • radius in there so this garden start
  • adding other bones to it right so I keep
  • the whole points that he collects he
  • collects on their bones so let's draw
  • the other arm first other side should be
  • somewhere here elbow get close enough
  • this guy's kind of coming in and just it
  • doesn't have to put weight on this arm
  • like he used to just to stabilize him
  • just a tiny bit but no weight so his
  • fingers could be nice and relaxed kind
  • of just barely on the on the floor there
  • there's actually a little bit of weight
  • now you can try this yourself to if you
  • like to kind of squat the floor it could
  • just hold yourself with a party one
  • finger to hold yourself up but there's
  • still energy being distributed into that
  • finger but not much of it your hip and
  • knee is taking up most of that energy so
  • that's this knee right here that's going
  • to go in and here's this leg right here
  • and feet and it's going to go there this
  • one's going to be here one of the
  • clients want him to have a weapon or
  • something how does this got kill you
  • just smashes you with his hands maybe
  • with the trial version later where we
  • give them some kind of like a cleaver or
  • something and something that just freaky
  • I think
  • those guys are squatting so let's add
  • the other arms too now that I start
  • drawing this I'm started thinking oh man
  • maybe he does have to be completely
  • skeletonized maybe he's half kind of you
  • know those mummified humans they find
  • high up in the mountains like they're
  • definitely mummified basically but they
  • still the skin on them but there is no
  • more fat or human tissue like barely
  • anything left so they're skinny as a
  • skeleton but they're still wrapped in
  • the skin so maybe that's something we
  • could try later
  • that's it look so part of them is
  • skeletonized and then part of them like
  • it's arm and legs maybe it's more like
  • stretched skin and by the way this kind
  • of conversation where else can you have
  • this kind of conversation you know this
  • is entertainment history where you can
  • talk about how to stretch skiing across
  • a skeleton and you get paid to do it for
  • a job these this most bizarre still get
  • shipped out sometimes when I'm on the
  • phone with clients and you're talking
  • just the weirdest crazy stuff that if
  • someone recorded your conversation they
  • could probably report you to the FBI for
  • the just insane stuff to talk about like
  • well how should we you know make the
  • drag and shoot the guy up when the guys
  • right on a horse and the dragon swoops
  • in and pulls them off the horse and
  • thrown 100 miles in the distance you
  • know it's like what the heck are you
  • talking about man but that's what you do
  • for entertainment so it's bizarre it was
  • our stuff let's draw the two or like
  • almost 50 minutes in whoo time is flying
  • by man holy cow
  • not only sketched a guy kid before you
  • guys get boarded this may be which is
  • taught like current affairs I think keep
  • you guys entertained or maybe share some
  • industry stuff qaq neighs gotta be
  • coming soon so I gotta get someone to
  • compile the questions first there and
  • nobody here has time these days right
  • now just super busy running around doing
  • stuff all right Satya no arms and so
  • maybe it's got little arms let's see
  • what should we Pat it let's see maybe
  • it's got like little arms coming off
  • this side let me just try it it could
  • look stupid but let's try like these are
  • like actual real human arms here yeah I
  • don't know that that works about I don't
  • know let's see like they're kind of
  • bound to him and they were to stay
  • animate I get some come off his chest
  • which would look way cooler actually
  • that's part of my thumbnail I did like
  • here a little hand little hand right
  • there kind of freaky go hand right here
  • how would I just get out and smoke a
  • cigarette
  • I just got single right outside the jaws
  • okay let's see draw a little hand here
  • let's draw these hands still have tissue
  • on them so that we could distinguish
  • that from his uh Skeletor hands hand
  • there it's kind of cool it's like almost
  • like a shrimp you know the bottom of a
  • shrimp they have those like 10 or 12
  • little legs and they they wrap up when
  • they're dead or kind of wrapped up on
  • their alive they kind of move in a
  • wave-like fashion so Luca animate this
  • guy's hand doing that or maybe do like
  • the mr. Bernstein here like rubbing
  • itself
  • golem I think golem do something like
  • that as well okay like thinking I'm so
  • evil kind of thoughts type of thing okay
  • it's this guy here negative space is
  • here what the heck is that
  • okay that's oh I see that's the way what
  • is that it's nothing okay this is the
  • elbow or the arm that's the negative
  • space that's the hip just trying to get
  • it as a silhouette define right now
  • don't use that all right so we got these
  • guys so you can see this is you becoming
  • mean let me kill the cigarette oh this
  • looks so silly but this is sort of the
  • in-between out this is version two right
  • this is safe client safe now client safe
  • and little bit of injection with the
  • little arms and because simply the cool
  • thing is they could be like I'd like to
  • design but don't like a little arm so at
  • least you just take your arms out and
  • you're set so all right I think I'll do
  • at this point is let me go off and
  • sketch a few more because I think you
  • guys see how this comes together um I'll
  • go sketch I don't know how many more I
  • spend next maybe hour so sketch up right
  • again another 4 or 5 sketched in there
  • to show you guys and then we'll render
  • some of those up slightly so they're
  • presentable and we call that a nice
  • episode 485 at least yeah next week
  • we'll get into character so probably
  • something very similar we'll do like
  • maybe we'll do that guy who hunts this
  • guy right the warrior dude that's going
  • to go and fight this guy he's going to
  • be about this tall right here so what
  • these are here maybe next week which
  • would be pretty cool I try to make our
  • own take on it
  • if
  • this guy should be like looking up at
  • him like whoa man shield and stuff for
  • now I don't worry about it
  • damn sword anyways we'll deal with him
  • next week damn
  • guy about the stuff in his actually
  • should be the energy swing so it should
  • be like that this should be down here so
  • you can see passes should give them some
  • cloth simulation as well
  • so we'll deal with him next we could be
  • kind of fun look at me like pale female
  • versions or something like that okay so
  • alright so let me let me pause the video
  • here and go off and draw for an hour and
  • I'll be back and I'll show you all the
  • stuff we could join an hour and yeah
  • let's let's do that so let me stop this
  • video now hey everybody and I am back
  • through the magic of time travel of the
  • internet I have completed the joins and
  • let's show you what I have done so I
  • mean real time but I've skipped about
  • about three hours doing half hours of
  • sketching and cleanup so last I left you
  • guys we were at the rough stage for this
  • mystical creature I chose to too that I
  • liked and put it here and let me just
  • show you the other ones that I have
  • sketched out this one here and this one
  • over here so about the same level of
  • roughness so here's another guy kind of
  • sitting like this guy was squatting and
  • I change the camera angle slightly so
  • you can see little more of his little
  • arms they see in the middle right here
  • switch my pen color okay in about this
  • area kind of cool those should be things
  • we don't kind of creepy looking and then
  • I tried another version which just had a
  • multiple arm so you have one arm coming
  • out and you have these two little arms
  • coming out I thought be kind of cool to
  • have a guy that is completely formed but
  • still within the spec of the the giant
  • human skeleton this is our speed runner
  • 100 meter dash skeleton Gabriel to run
  • the Olympics and are squatting dude so
  • and I also threw in as you notice we
  • have a bunch of blank space over here I
  • threw in these sketches I did for my
  • students yesterday actually for the demo
  • which is another mythological creature
  • called the J roll to roll gumo if i
  • pronounced that correctly which is a
  • half spider half woman now in the
  • traditional sense I think the expected
  • design will be you have a spider make
  • sure I do this on new layers I don't
  • screw this up you have a spider body and
  • on top of it you get a some kind of
  • female form instead I decided to change
  • this design a little bit to again not
  • not breaking the spec but can we
  • approach it for mobile
  • for not not really a scientific thing
  • since this thing doesn't really exist
  • but sort of a more logical way that this
  • could happen perhaps that the maybe the
  • myth comes from a creature that can
  • actually do this without turning it into
  • an actual woman on top of a spider so
  • let me show you the sketches of that
  • point and these are rough as well and
  • I'll clean all these up to show you what
  • they look like so here's the four
  • versions so let me let me just go
  • through and explain what these designs
  • really is about the idea is that it's a
  • half spider half woman so I thought you
  • know a 2 to lower men or something like
  • that right like travelers on the road
  • away there's a beautiful woman unless
  • you what it happens in the spider come
  • and kills you so I thought okay how do
  • we how do we design that in a different
  • way to approach it so it's sort of
  • explaining how the spider actually goes
  • about this so of a couple solutions and
  • one what the two major solutions are one
  • is mimicking and two is actually taking
  • a kind of a corpse in a way and keeping
  • the body I guess still the soft by
  • injecting maybe some kind of liquid in
  • saikhan like formaldehyde or something
  • some kind of preservative and using that
  • essentially as bait so so you can see
  • here so our first one here this is a
  • mimic let me get another pin over here
  • so the spider obviously is over here and
  • this spider has arms that towards the
  • end of the first set of arms it turns to
  • something that looks like a female leg
  • you have the smaller arm that look like
  • a female arm and here it's a part of a
  • corpse maybe that's injecting so sort of
  • hanging on his chest or maybe it's
  • holding it up so you can sort of form a
  • rough version of a female body so from
  • for someone maybe in the dark at night
  • this spider hides in a bush somewhere
  • and then kind of just wiggle the leg
  • around and attract some soldier guy or
  • something like that and it pounces and
  • kills them and the rest of these three
  • are essentially similar concepts this is
  • also a corpse idea so this is a kind of
  • a fortunate woman narcos killed and then
  • this spider now is injecting some kind
  • of formaldehyde and using its claws to
  • almost puppeteer this character so you
  • got the little arms over here
  • arms the thumb the spider itself
  • puppeteering this corpse and animating
  • it as a piece of bait this one over here
  • is a mimic so this is the similar
  • concept as the upper left one kind of
  • crazy to the spiders back here and it
  • has these little forearms that looks
  • like a female leg you know trying to
  • make it all walk sexy and things like
  • that and these two arms aren't holding
  • the rest of the body up just about here
  • so crazy design the last one is a kind
  • of combination Oliver got the corset up
  • a little baby here which is kind of
  • creepy because in the original fairytale
  • version there's actually some I think
  • the woman holds a baby and then if you
  • get close to it all the little spider
  • comes out just really creepy stuff it's
  • awesome you know as a entertainment
  • piece of design pretty awesome so let me
  • show you how I clean these up so this is
  • just a rough dry each one took about ten
  • minutes or something like that to sketch
  • up let me open up the clean up version
  • come on joint okay so let me close this
  • one don't know more all right so here's
  • the line-drawing clean up not super
  • super clean but enough I think for
  • design cinema for for the purposes of
  • this tutorial and just went in there
  • kind of kept it rough I kind of want a
  • Oh school pen-and-ink look so I kept a
  • brush movie big the brush I use is this
  • little calligraphy brush over here
  • basically that one right there and kind
  • of used a little bit of the darkness to
  • just graphically extract some of the
  • forms to give it a certain look so
  • here's the the squatting guard all these
  • little arms here's the guy running
  • 100-meter race just dude with all the
  • little arms sticking out in various
  • directions and other squatting guy it's
  • got some little deform arms coming out
  • of his elbow and stuff is so these two
  • are kind of similar to each other in
  • that sense and some crazy hair here are
  • the spider characters now clean up a
  • little bit you can see this one the
  • mimicking or manipulating the dead
  • figure ring over here this is the mimic
  • so you can see the way this works let me
  • change my color to red as you can see so
  • this is the leg of the spider the other
  • one will be on the other side and
  • essentially it's doing that
  • and this part of the corpse is actually
  • being held up by this little spider arm
  • so when the person gets close to this
  • this disarm up to class come up and bam
  • you're you're the next victim here's
  • another one kind of animated corpse kind
  • of trying to hide the head maybe this
  • one to just cut the hair and all the
  • teeth are all kind together I did this
  • on purpose so notice the girls and the
  • kind of suggestive pose dry so maybe
  • some guys I do demand are you okay man
  • you know so all this will be like some
  • some trees or brushes on like that and
  • then they'll come and try to brush the
  • hair apart and of course you expose a
  • giant teeth and the fangs go back and
  • kills the guy or something like that
  • that's a sort of the idea in this point
  • also salsa also a mimic you have the leg
  • here sort of a part of the torso and a
  • spider arm that looks like feeble hands
  • halfway through so you can actually
  • mimic it and they're actually things
  • like that in nature right have the mimic
  • spiders is essentially actually has
  • mimic spiders the ones that look like
  • ants actually exist in nature so anyway
  • so see that's this guy so we have eight
  • of them and let me just try all the
  • layers to show you I just put a little
  • bit of presentation on these guys so we
  • can show them as a as a piece of concept
  • part just a little bit of a little bit
  • of marker and that's about it so there
  • are these showable to the audience
  • hopefully this look okay on the youtubes
  • compression because youtube tends to
  • blow out some of the whites but you guys
  • could grab this PSD file that PSD I
  • hacked I guess high res JPEG from my
  • Facebook page just look me up and yeah I
  • also spawn this is a fun little thing
  • finally back to design set up again
  • recording and getting this stuff in
  • front of you guys hopefully we'll get to
  • the Q&A maybe for the next one along
  • with the character design which would be
  • really fun we'll choose another subject
  • matter that's entertaining and just like
  • this one I chose it for our purpose and
  • things fun to practice is a little bit
  • more easy in terms of sketching you
  • don't have to follow these gives me uh
  • hardcore specs and things like that just
  • to give it a practice so hope you guys
  • you know weekend's coming up go to a
  • Wikipedia type in Japanese mythical
  • creatures you can find a bunch of them
  • actually every single culture in the
  • existence in history has these myth
  • logical type of things in them not the
  • Greeks have a ton of them the Egyptians
  • right every everybody Africa has a tons
  • of these Asia has a ton of them as well
  • so maybe could use that as a jump start
  • to start sketching this weekend so
  • alright man so thank you guys so much
  • again for watching and being patient
  • with me I know that it's been a long
  • time since we recorded an episode but
  • it's because of you guys that I'm doing
  • this for you guys are always so great in
  • the comment sections and so yeah thanks
  • again for subscribing and watching our
  • Channel and I will see you guys again
  • the episode 86 until then have a great
  • weekend this is phase uu signing out
  • alright

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Mythological Creatures

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