From the course: Drawing Good and Evil Comic Book Characters

Inking the bad guy's face

From the course: Drawing Good and Evil Comic Book Characters

Start my 1-month free trial

Inking the bad guy's face

“

- Now that we're finally done all of our thinking and going through the different options for our characters, it's time for the fun part, which is finalizing these lines. So these are all set up, both good guy and bad guy into their own separate documents. Single layer documents so it's nice and clear what we're doing. I'm going to turn the opacity down on that one. Or if you're working on paper or real life pencil, just throw a new sheet of paper over it and use your lightbox, and you'll get the same effect. I'm going to start a new layer and it's not really necessary to name that because we're probably going to make a lot of layers, but we'll go ahead and call it bad lines. That'll get us started. Next thing is we've been using this awesome brush that looks a lot like a real pencil, and that's actually part of a whole lot of brushes by Kyle T. Webster, the brush wizard. And you can find all those brushes at kyletwebster.com. Is what most of these are. There's tons and tons of options. I've highlighted the two that we're going to be working with, the animated pencils, what we've been using, is one of my favorites. And the Rough Inking 2, is probably what I'm going to ink this thing with, digital ink. It's a really sweet brush. You can see it, up closer it's got really nice edge. So, you don't have to use this one, but find something that you like that has a more finished quality to it. We want some really clean lines. So without further adieu, let's get into cleaning up and finalizing the lines of our bad guy's face. We'll take it a step at a time. So what we do here, is just like what we did in our opening segment of choosing your lines right after shapes. Basically looking at all these scratchy, scribbly lines and picking out which of those we want to keep. We don't want to just mimic every single one. A lot of those lines were us just trying stuff out or grabbing the right shapes and now we've got to pull out those shapes and find the ones that work. And that's part of the challenge. Less is more. So, make sure you choose wisely. And at any point throughout this, I'll probably turn on and off my rough drawing So I can see where I'm going, where I've been, what I'm doing. And the other thing we want to keep in mind throughout this entire process of finalizing our lines is sticking to those design themes that we've already set up with the sharp angles. Like I've got this chin a little bit too square for me. So feel free to erase, control, alt, delete, whatever you want to do. And just really drill home that pointiness that we were going for before. Trying really hard not to go too in depth on textures, and shading, and cross hatching, and all of that stuff. I want to keep it pretty clean for the time being but we will get to that. It's one of my favorite aspects is actually finishing off the drawing, really kind of brings it to life in that last step. But hold off as long as you can because you don't want to over texturize or over embelish on a certain part and then have to do it everywhere just to keep up as you go and make sure that you match up with the level of detail that you've already put in. It's better to do all that at the same time, I've found. Everyone's different, but that's what I like to do. Hit it all at the end. So right now, as far as details and texturing, I'm really just getting the important wrinkles in like this one tube in its neck. But that's about as far as we'll take, the face.

Contents