welcome to our Father & Sons Drawing channel! This time, I’ll work from a Ryunosuke drawing who is now 12 years old. His drawings are getting more and more detailed. He made this creature. The design is already very good. It’s a kind of monster with large tusks. First step, from this base, I’ll work on the design by doing a few sketches. I started with this rough close-up drawing, the goal here was to define the design of the crown made of horns and tusks. It was not easy to figure out in volume. I also sketched some details on his weapon. He is holding an axe which has jaws inside it. Many interesting points! One element I had to make research on is his prothesis on his left hand. Ryunosuke simply put a scissors in his arm. I made something more elaborated. The face of the creature is a little strange, it has many pink eyes on his face and Ryunosuke drew a kind of texture which was difficult to figure out. It gave me a new idea about a kind of living mud covering his face. From that strange mud, this boss gave birth to a little army of skeletons On these skeletons, I put the same muddy texture, like slime, with pink eyes all over the face. That little army of skeletons surrounds the Koomos who are doing a come back in this illustration. The Koomos are these little characters with hoods. I drew them in several drawings of our series. So there is this boss monster, a lot of creatures around him, the Koomos, I told myself, let’s be crazy and do a full background all over the drawing sheet! It’s an ambitious illustration that will take a lot of time! Let’s go After the sketches and the design researches, I start the final drawing on the watercolor paper, placing the characters roughly with a pencil. This drawing is very complicated, very ambitious There are lots of things to draw. The big creature, the three Koomos, the monsters all around and a rich background. I’m spending quite a lot of time on this pencil drawing. The more I move forward, the more the drawing get precise. After the first placement, I work on the details drawing them very precisely. The clothes, the hands, the facial expressions. Here is the finished drawing, ready for inking A major difference with Ryunosuke drawing, is that I worked a lot more on the character’s left hand Ryunosuke made just a wrench attached to his flesh. I decided to put him some kind of glove,
more technological with ropes, little springs, screws. That’s a difference with Ryunosuke’s drawing It gives it a more realistic touch. I hardly pictured how the wrench could work if it was just attached to the arm. I need to be very careful when I ink the eyes. The face and especially the eyes are the most important elements to care about in a drawing. because a slight shift of the eye,
on the left or on the right or an eyelid too open or closed will completely change the expression or make them look awkward. On the contrary, when I ink the monsters, the bones I don’t need to be that precise. The pen stroke is free and relaxed. Same thing with the background. The moss, the roots. On that part of the drawing, the pencil drawing was ligher, less precise. So that I can keep some flexibility, some freedom, when I ink the natural elements. Inking is completed, I’ll start the colors, but before painting, as I rarely show it, I’ll let you see
how I prepare the colors. I’ll start with the background Beforehands, I prepare a number of colors and shades, for the moss, the leaves, the ground. It’s mostly green and brown colors. I prepare them in advance to be able
to mix them fast enough while painting. Here you can see that the pink blends in the green. On the trees, there are brown shades that merge with green ones. I need to have these colors ready to mix them as I go along. Here I add a shadow level, with blue watercolor. I do the shadows when it’s dry. Here, a darker layer of tree silhouettes to give more depth to the background. At normal speed, it looks like this. I paint a yellow-green, I’ll blend it with green and I add some brown onto it that will merge with. The leaves on the foreground, I let them blank for now I dont want everything to mix and become soft and blurry It’s important to keep some sharpness, contrast between some parts. That’s why I’m painting around those leaves areas,
keeping them blank for now. On the bottom of the mound there are moss and ground so I use mainly brown colors. On the top, I’m painting bright yellow and greens. The lower I go, the more I add darker greens and brown colors for the ground, Here I paint the leaves I left blank earlier. To give volume to the roots, I add a darker brown between them. For the ground, I’m mix several hues; to make it interesting, so it’s not uniform and bland. Once that first layer is done, I work onto it with some small strokes. It gives the feeling of grass or moss. And very important, I add a layer of shadow the same color that I used in the back, blue. Almost turquoise. It allows me to give more volume. And also makes the image more legible. The white Koomos stand out in front of the darker background. The background is finished, I start the characters now. I do a first pass with even colors, leaving white highlights. I do this on all the characters then I add darker areas, shadows, reflections on the golden parts, and on the metallic ones. Here I’m painting drop shadows on the arm of the character. It’s this kind of little techniques that makes the picture more realistic, more three dimensional. I use the same shadow color almost everywhere always the same blue to give a global harmony. On the Koomos, I used a slightly lighter shadow because of their very bright clothes. Here is the finished drawing. It’s one of my favorites I spent a lot of time on it, but I’m happy of the result. This drawing took easily the double of the usual time I hope you enjoyed it Anyway, it’s one of my favorite so far I hope the next one is as good as this one See you on the next video! Check out our artbook! It available on Amazon and bookstores. Help us create videos by supporting us on Patreon. Thank you very much!