Okay, sketchbooks. So I started off drawing brush characters one per day just to learn control of the brush pen and get confidence in the thick and thin contrast, you know how comfortable I felt doing that without pre thinking it's or laying down construction lines or anything like that. I basically put them all down in the same sketchbook and this is the same book I've maintained over the years. What I really wanted to show you guys is the first one ever Drew, this is the first time I ever held a brush pen and put it to paper. And the reason I'm showing you this is at the time, I didn't expect that I would ever show anybody else this particular character, let alone on social media, let alone on a Skillshare class. I wrote all these sorts of comments to make sure that I would never put it up and in figure drawing lessons again.

The lazy dribbler are very, very, very critical of myself. And this is important to see because unless you're very lucky there's doesn't come effortlessly certainly didn't for me. But here's the interesting thing. Second day I'm already just seeing a little bit more confidence. It's, it's I'm trying to put more of a bit of humor in there and that sort of thing trying to draw the face from the front which can be a bit more challenging. By the way, you can see the nose there, it's going to take a lot more strokes from us with a brush pen.

And honestly, it doesn't make that much or much like a nose. It's It's a bit like a banana or a piece of spam or something like that. But then by day three, suddenly we swinging we're cooking with gas and ignore that. It's actually getting some way this is the other interesting thing I think let's get right off the bat. So this is our mostly draw the gods from the sort of three quarter angle. This is just the easiest way of getting a great sort of expression and with as few strikes as you need to from the front.

I don't really recommend For reasons I mentioned previously, and then Assad profile is also pretty easy, but you're gonna have to pay a lot more attention to anatomy and that sort of thing. And you know, you're welcome in cartooning to push the laws of basic anatomy for chemical effect, but it ends up looking kind of goofy, you know, let's talk about islands for a second. If you want to take a nose journey where the nose ends is the bottom of the chin really where the nose begins as the top of the ear. So this guy's way out of whack has asthma and as far as and that sort of thing and it's quite funny, but if you're aiming to get anything else out of this, like cartooning or decent kind of character design, that's probably the most important rule of thumb for me anything else is open, open season, you know, get a ton of the neck and make funny long limbs that wouldn't really work like that in real life.

Some quick little curls and stuff. That's space. See that same, same little downward stroke we will use but much more quick and scoots, just like that. So here's a good point to mention, I kind of drew men exclusively. And the reason for that is the dual brush. So this little side here was what I really wanted to learn, I wanted to get used to flipping it over between the the brush nib and the filtered nib.

And the best thing I could think of to draw with a filtered nib was stubble. So you're getting that repetitive thing you would have seen it in the trailer for this class where it's just like, tu tu, tu tu, tu tu tu tu tu tu a male characters a little simpler than a female. I can just kind of in the hairline, just behind the ear there and I don't have to really worry about it. It's also okay to have kind of like a head just like on top of the shoulders. You don't have to really worry about the neck and that sort of thing and it gives them a more sort of stately powerful feel. Also tries to vary between young and old.

That's something with we're thinking about. I just want to show you here. All right, here's a good example of a girl. So if I did the same thing and I let the hell I'm just behind the ear there, this is kind of a little rat's tail come out here doesn't really make a lot of sense, like this one here actually looks a bit looks a bit sort of bedraggled. And, to be honest, in a long hair can be voluptuous, it can do things that short hair kinds, it can have body it can bounce. So this is what I wanted to show you guys about confidence, obviously came down here drew this little line, and I wasn't quite sure what I was going to do.

So I just kind of bounced it out the end of the good squiggle all the way down. You know, the more you practice those drills that's something you get more and more used to doing. essentially just changing on attack changing on a whim and just making something new this this is probably the my favorite one I've ever done is fairly well proportion. You know, you've kind of got the long tall hid there. Part of that's supposed to be a neck really so let's just say that That's the head, the body is about half the size of the head. And the feets are about half the size of that.

So it's just kind of cutting down proportionately and drawing your focus to his face, especially his eyes. So if you want to have fun with these things, that's something to think about when you're drawing your characters. What do you want to draw attention to, there was this earlier handshake. And that was all about drawing your attention to this goofy expression. And then secondly, to the extended hand, I may even tuck the other one in the pocket so I didn't have to worry about it. I basically ran out of space.

This guy's hands behind his back as well also not by any other choice, then I just didn't really know what to do with them at the time, I didn't know where to send them. In the hands on hips, that's fine as well. And you can see, same pin, same book, and you can twist it a million different ways. This is another fun one when you get a bit more used to the hair. You can start getting a bit more texture in there. And that's just also using this little felt tip, just to see these little dot, dot, dot, dot, dot and you falling in lines there.

So it's not very complex. The cool thing about these is you can draw them anywhere. All you really need is a good solid surface or a small sketchbook that you can kind of rest on you can draw these on the plane, you can draw these on public transport. You can sneak these in a lunch break at work, that kind of thing. All right, so all this talk, let's get down to a physical demo. I'm going to draw one of these things.