– [Jacob] Welcome to Drawfee
where we take your dumb ideas– – [Julia] And make even dumber drawings. – [Jacob] I’m Jacob.
(whoosh) – [Julia] I’m Julia.
(whoosh) – [Karina] And I’m Karina.
(whoosh) – [Jacob] And guys, we’re back again for a sweet sweet Nuesday and
this Nuesday is plus ultra. I’ve sprinkled in a
little extra ultra on top, it does cost 99 cents extra. – [Julia] I completely forgot that we were doing “My Hero” characters. – [Jacob] You literally
just did this drawing. – [Julia] I know, but I lost
all context half way through and you’ll see why. – [Karina] Yeah, I kinda
blacked out during my drawing. It just kinda became
its own thing, you know? – [Jacob] Great, so it
seems like everyone’s had an awesome time. – [Karina] Excited to be here.
(Julia groans) – [Jacob] We’re doing “My
Hero Academia” characters in different styles. I’m gonna do mine first
since I’m the only one with the Drawfee brain cell today. I have the brain cell for now. – [Karina] Don’t lose it this time. – [Jacob] I’ll try not to lose it. – [Julia] Did you have
a good time with yours? – [Jacob] I did, I
actually am really happy with how mine came out.
– [Julia] Nice, what’d you do? – [Jacob] I did Todoroki, everyone’s favorite
half-hot half-cold boy. (Julia singing “Hot and
Cold” by Katy Perry) – [Jacob] Yep, that song’s about Todoroki. – [Karina] Just about Todoroki, yeah. – [Jacob] And I did in the
style of a Pokemon trainer. Like one from the anime. Sort of an Ash style. – [Karina] Is it new anime
or the old-school one? – [Julia] Yeah that’s a
distinction you need to make. – [Jacob] I did the,
well it’s kinda somewhere in between I think. It’s probably leans more
towards the old school. But yeah, so I’m gonna
go ahead and get started. I’ll count myself in. Three two one, go! So, straight off the bat as always, I have to test out some poses that I hate. But I get to this one
faster than I get to most. ‘Cause I’m actually already on the pose that I end up sticking with. – [Julia] I like that you
draw torsos in your sketches like they’re a piece of toast. – [Jacob] Yeah, well that’s–
– [Julia] They’re kind of like a slice of toast. – [Jacob] That’s kinda what torsos are. – [Julia] A little bit. – [Karina] Torsos are
– [Jacob] They’re toast shaped – [Karina] Just bread, yeah.
– [Jacob] yeah. – [Karina] Artist trick. – [Julia] Mine certainly is just bread. – [Jacob] I tried to work
in the UA jacket design, but in sort of an Ash
short-sleeved collared shirt look. And everyone in Pokemon
has these big baggy pants and big old chonky shoes. So I did that too and then
I changed Todoroki’s hair to be more in the Pokemon style. The eyes I had to change ’cause
they looked like Ash’s eyes but didn’t look like
Todoroki’s eyes at all. So I switched them to kinda this form which was something in between. – [Julia] Yeah, Todoroki’s
a little moodier than our boy Ash. – [Jacob] Yeah, he’s a little moodier. And I was already really
happy with the sketch. I feel like it looks pretty Pokemon-y. And it looks like Todoroki. And I was like,
– [Karina] Here comes Grimace. – [Julia] Ooh a friend. – [Jacob] He needs to
have some Pokemon in it. And, not Grimace. And so this is when I realized that the Pokemon Emboar
is literally Endeavor – [Julia] Oh it’s his dad.
– [Jacob] as a Pokemon. – [Julia] Emboar is Todoroki’s dad. – [Jacob] Yeah, Todoroki’s
dad in the anime, Endeavor, has a big flaming mustache
and stuff and so does Emboar. He’s got this flaming beard situation. He looks angry just like Endeavor does. And so I figured Emboar would
be a good first one to do. Todoroki has a notoriously
complicated relationship with his father and his mother, which is what I decided to go for for the ice Pokemon that I used which I’ll be getting to
here in just a second. Also, I’d like to point out that I did most of this
without zooming at all and I hope everyone’s very proud of me. – [Julia] Yeah, that’s impressive. – [Karina] That’s something
we should’ve been doing? – [Jacob] No,
– [Karina] Okay good. – [Jacob] I just zoom a lot and sometimes when it gets
sped up it looks wild. It’s zooming in and out so much.
– [Julia] Mine’s gonna be wild.
– [Karina] I’m excited to see mine (laughs) sped up. – [Julia] Let’s see if our
are comprehensible whatsoever. – [Jacob] For the ice
Pokemon, I went with Froslass, which Julia, you actually
drew in a Pokemon episode. It was the ice woman, the ice ghost woman you drew.
– [Julia] Oh yeah. Yeah yeah yeah.
– [Jacob] This is the actual Pokemon of that ’cause Todoroki’s mom is kind of – [Julia] A very sad lady?
– [Jacob] A very sad character and she’s sort of abused
and I decided to save now. – [Julia] That’s good, yeah.
– [Karina] That’s smart. – [Julia] Save right there. – [Jacob] So I decided
to go with Froslass. That kinda represented his
whole family and his duality. You know what I’m saying,
you know what I’m getting at? – [Julia] Yeah man. – [Jacob] Then I guess I just
sort of sat here for a while. (Karina laughs)
– [Julia] You probably ordered lunch during that time. – [Jacob] Probably.
(laughter) And then I got to the inking. I was trying to use sort of like a thin, I used Kyle’s ink box ballpoint pen brush so it’s a little thinner, has
a little bit of texture to it. – [Julia] And it has that roundness that I associate with
the lines in Pokemon. – [Jacob] Yeah, totally. I thought it kinda fit the brief. This was me checking to make sure I actually went thin enough on the lines ’cause I have a problem with (Karina laughs)
– [Julia] Getting some chonky lines.
– [Jacob] Thinking I’m going too thin or thin enough and then it ends up being real chonk. So yeah, the inking was a
pretty straightforward segment. I always do a think when I’m drawing where I really put most of
the detail into the sketch. And then for the inking
I just kinda black out. I just kinda space out. – [Karina] I think that’s, fun. (laughs) – [Julia] It’s like the
therapeutic part of it. – [Jacob] Yeah, it’s how I like to draw but it’s objectively more time consuming. I know a lot of artists that
will do a really rough sketch and then just jump straight to inks. – [Julia] Oh, the sketch is therapeutic. I thought you were saying
the inking was therapeutic. – [Jacob] The inking
for me is therapeutic. – [Julia] Well good for you. – [Jacob] Inking’s my
favorite part of drawing which is why I like to put
so much into the sketch so that the inking can
be a sort of mindless. – [Karina] I do the
basically minimal sketch and figure out all the details when I ink. Not for these videos, but usually if I draw in my usual style because I know my own style better, I have a very rough sketch. It’s basically just a composition sketch. – [Jacob] Yeah it changes for me if I’m doing time-sensitive work for work. Back when I was doing a lot of comics I had to sort of change my
work flow to get done in time. But if I have my own choice and I’m drawing for my own enjoyment then I always like to spend
a lot of time on the sketch. – [Julia] For my own
enjoyment I never ink. (Karina and Jacob laugh) I only ink for work, honestly. (laughs) – [Jacob] Karina’s method, just don’t. Just don’t ink.
– [Julia] Just don’t. If it looks lik I’ve inked something it’s actually just a very
small sketch-like brush. It’s very thin pencil brush. (laughs) – [Karina] That’s interesting. – [Jacob] Sometimes I wish
I could do that but I can’t. I just can’t do that, I don’t know why. I have to work this way. – [Julia] I wish I could ink like you, ’cause you do it very well
and you seem to enjoy it. – [Jacob] I think I just do it well because–
– [Julia] Can’t relate. Wish I could. – [Jacob] I do it well because I like it. And so I like to really– – [Karina] If you like it
you’re gonna spend time on it. – [Jacob] Yeah I spend more
time on it since I enjoy it. – [Julia] Those shoes were
giving me some slight DBZ vibes and I’ve never noticed that the Pokemon shoes
do kind of look DBZ-ish. – [Jacob] Yeah, they’re
kinda these chunky boots a lot of the time. Like the chukny tennis shoes. – [Julia] No laces, just these
straps like elastic bands. – [Karina] No one in the
Pokemon universe knows how to tie shoes. – [Jacob] I remembered here that I didn’t, I forgot to include those head things in the sketch on Froslass so I just had to do them at that point. Thankfully I remembered,
’cause I would’ve got razzed. (Karina laughs)
– [Julia] Yeah you would’ve. – [Jacob] If I had not included it. This one took me a little
bit longer as a whole. I think just ’cause there were
three figures I had to draw. – [Julia] That’s true, you did give yourself three
characters to try to draw. – [Jacob] And I always forget that that makes it take more time. – [Julia] Yeah, go figure.
– [Karina] Putting more things in the drawing? – [Jacob] Yeah, ’cause this one took me close to three hours I think to do. And it’s not a complicated drawing at all. It’s a pretty simple style
and it wasn’t very hard for me to conceive of what
I wanted to do with it so I was surprised it took that long. I was like, “I guess it’s “’cause I had to draw
three full-size characters “with their own.” – [Julia] Three tails.
– [Karina] That had a lot of big shapes. – [Jacob] You wanna get
all that stuff right. – [Karina] Big shapes that
have a lot of weird angles to them like Emboar’s
whole fire collar thing. – [Jacob] And I was doing
a fun trick on myself where in the official art, Emboar is facing the other direction and I didn’t flip my reference, I was just doing it from brain. I was brain-flipping while I worked so that made it fun too,
to really just struggle. Struggle through that when
I could’ve made it very easy and I chose not to. ‘Cause that’s how I live. – [Julia] You done played yourself. – [Jacob] I done played myself. Now the inks are pretty much done. – [Karina] This is such a good ink. – [Jacob] Thank you. I’m really happy with it.
– [Karina] This looks like a coloring book. – [Julia] It really does,
I was just thinking that. It’s so clean.
– [Jacob] A lot of my inks end up looking
like coloring books because I make them very very clean. – [Karina] God I wish that were me. – [Julia] Clean big shapes
without tiny lines in it. I do a lot of little
folds, like at the knee and little creases and things. But yours is so clean-looking. – [Jacob] Yeah that’s me baby. – [Karina] Feels very
satisfying to look at. – [Jacob] The downside to
that is that I’m not very good at doing super detailed line work. I’m good at doing big shapes. You can see that I have
a white block up there because I blocked out where
I had put the official art that I was color sampling from. So that I wouldn’t have to
report it in this episode to our legal team.
(Julia laughing) – [Julia] Shout out to legal. (laughs) – [Jacob] Shout out to legal. (chuckles) It’s behind there. There’s an Emboar behind there that you can’t see so it’s fine. – [Karina] This is how we
get the episodes out on time is we don’t report it to legal. – [Jacob] Yeah exactly. Coloring’s just so much
easier if it’s a known figure just to sample the color
from the actual art. – [Karina] I love that fire. I love the fire on his neck.
– [Jacob] I actually learned something through doing the fire. Through emulating the
fire I sort of learned how to do that anime style fire
which I always really liked but never knew how to do. But I feel like I have a
better grasp on it now. – [Julia] Yeah it looks great. – [Jacob] There’s Todoroki’s burned eye. His classic burned eye. – [Julia] Classic Todoroki. – [Jacob] And then I
just went in with shading to make it look nice and moody. There’s not a ton of shading
usually in the Pokemon anime. They usually do flats a lot of the time but it was looking a
little too flat to me. – [Julia] This suits it so well. – [Jacob] Yeah so I wanted to do shading to make it just look a little,
make it pop a little more. – [Karina] It’s more Pokemon
promotional art than the show which I feel like I, it’s
promotional art for a reason. It looks better. – [Jacob] Yeah ’cause it’s a still image that doesn’t have to move. Which definitely helps. – [Karina] That really gave
that ice Pokemon some depth. Adding that shade to the helmet thing? I don’t know what I’m saying
but you get what I’m saying. – [Jacob] I get it and I appreciate it. Also you’ll notice that I
got to Emboar and I was like, “Oh no, fire makes light.” And then I was like, “I’m
just not gonna reflect that “on the other characters “but I will do it on Emboar himself.” Then I just added these gradients ’cause I wanted to do some
frosty snow over there. And then I wanted to do some
cinders over on this side. – [Julia] This looks great. – [Jacob] And this is
just a soft round brush with some glow effects on it. And that’s it, that’s the full thing. – [Karina] Wow.
– [Julia] That’s so good. – [Jacob] I was super happy
with how this one came out. It was a good art day,
unlike the last episode where I drew Goku as the Avatar. – [Julia] And you had a lot
of problems with his hand. I remember that.
– [Jacob] Yeah and I struggled for a long time. This one was much easier. Came out really nicely. – [Julia] Well I feel like you nailed it. So good job.
– [Jacob] Thank you. Thanks guys, thank you so much. – [Karina] You even labeled
some of your layers. Wow.
(whoosh) – [Jacob] I labeled some of my layers. You know I’m really trying hard if I label some of my layers. It’s still– – [Karina] I’m proud of you, Jacob. – [Jacob] The majority are not labeled but some of them are.
– [Julia] Some of them are. – [Jacob] And that’s something. – [Julia] I do keep
misreading flats as farts. Emboar farts Froslass
farts and Todoroki farts. – [Karina] The whole family.
(whoosh) – [Jacob] Next up we’ve
got Karina’s video. – [Julia] Karina, a new entry to the speed drawing Drawfee universe. – [Jacob] Yeah this is
the first one you’ve done for this kind of episode. – [Karina] So excited. – [Jacob] Do you wanna
tell us what you did? – [Karina] I drew Bakugou. – [Jacob] The angry one! – [Karina] The angry one. – [Julia] The little explosion boy. – [Karina] In the style
of Into the Spider-Verse. – [Jacob] Oh man, I’m really excited
– [Julia] That’s so good. – [Jacob] to see this one. – [Karina] I’m sorry
it’s gonna be kinda fast ’cause I spent a while on it. – [Jacob] Oh that’s totally fine. It’s all 10 minutes here. It doesn’t matter.
– [Julia] It’s all 10 minutes here.
(Karina laughs) – [Jacob] I’ll go ahead and count you in. Three two one, go. – [Karina] I’m just gonna say now, it looks like I really bust out this pose. I kind of didn’t, I looked
up references ahead of time. – [Jacob] That’s still impressive. That’s a good pose. – [Karina] I like collecting pose catalogs and pose reference books. I have no impulse control
so I like to pick one up whenever I’m at the Japanese bookstore. I have a bunch of fighting ones so this is kind of pieced together from I think three different
photos from those books. – [Jacob] I want to
get some of those books ’cause I’m always thinking about how I want more complicated poses. I saw that canvas flip. You’re actually trying to make this work. – [Julia] This looks like, you’re really showing
your animator colors here with this dynamic pose and this movement. – [Jacob] It’s got so much action to it. – [Karina] I always like
trying dynamic poses. It’s something that, like I
said I buy all these books and I’m like, “I’m gonna do this so much.” And then I do it maybe a few times a year. Three times a year. (laughs) – [Jacob] That’s enough.
– [Julia] It looks so good. – [Karina] My thought process for this, ’cause I did not have a very strong idea of how to tackle Into
the Spider-Verse style because it’s a 3D movie, was to just do things the
way I normally do them and deal with it later. I went and inked the whole thing and changed the eyes multiple times. – [Jacob] As you do. – [Karina] Before actually
doing the actual challenge. – [Jacob] I think that’s
fair, I think that works. – [Karina] Welcome to the inking portion. – [Jacob] Enter the inking-verse is what your movie would be called. – [Julia] These lines
are so clean too, my god. – [Jacob] Yeah these
are looking real nice. – [Karina] Thank you. (laughs) – [Julia] I love the shape of the face. Always, the thing I always notice with yours is the shape of the face. It’s so good. – [Jacob] I feel like I’m
watching a music video with how it keeps flipping style and then zooming in and out. He’s gonna be rapping.
– [Karina] I zoom a lot. I also mis-click a lot so if
there’s ever weird flashes where thing just disappears
it’s because I mis-clicked or accidentally hit Z or something. – [Jacob] I do that all the time. – [Karina] It could be
anything really. (laughs) – [Jacob] I hit F4 or F6 a
lot when I’m trying to hit F5 so I oftentimes will bring
up that weird Apple menu that no one knows what
it’s for when you hit F4. – [Karina] Yeah the rare
few parts in this video where I kept accidentally opening things or switching windows and I
wasn’t sure if it recorded or not and I don’t know if they,
’cause after a while I was like, “Don’t bother editing it out,” so if David didn’t take them out you’ll see some of my notes to David. (laughter) – [Julia] I think how
I set up your recording on your computer was that
it only recorded this window of Photoshop, so you
shouldn’t see anything else other than Photoshop. – [Karina] I wasn’t sure if
that included the save menu. – [Julia] No I think
you’re good because mine– – [Karina] I was good, I
just didn’t know. (laughs) – [Julia] Mine doesn’t even
record the little layers panel. And you’ll see that on mine
is that you’ll just see my pen going up and down in
one really small section and that’s ’cause that’s
where my layers are and it’s being hidden. – [Jacob] That’s weird.
– [Julia] Yeah. – [Karina] When it comes to inking, I go between the sketch
and the inks a lot. I did it a lot less in this draw ’cause I was feeling
self-conscious about being recorded but, like there. – [Julia] It is a weird pressure. – [Karina] Yeah, so I
don’t actually finish my sketches that much. I just kinda make up a lot of it in inks or I just go back and redraw
an entire thing. (laughs) – [Jacob] Yeah, totally. I actually did that on mine
but it was too fast to notice where I did an ink layer on the right hand and then I made that into a sketch layer ’cause I didn’t like it and
then I inked over it again and did that a couple
times ’til I liked it. This is so cool already.
– [Karina] This is where I start doing the flats. – [Julia] Whoa. – [Karina] Yeah I go in and I kinda just drop in all the colors. I like to call it the
dirty icing of my drawing like if you’re doing a cake. – [Jacob] Yeah yeah. – [Julia] No it’s good. – [Karina] And then fix it. – [Julia] It’s smart ’cause then you have all the colors available to you so you can just
eye-dropper it or whatever. – [Karina] And that’s why I’m
always hitting the wrong keys on my keyboard because I switched a lot between the eye-dropper and the foreground, background colors I’m always switching in and out. And then I just accidentally
zoom in constantly. – [Jacob] It’s so funny to me to see it. How different the work flow
is for different people. – [Julia] I think it very much comes from where we all come from
in art and our art history. – [Jacob] Yeah like I come from Georgia where everyone just,
(Karina laughs) paint buckets it, flats it right and it’s a Georgia tradition. – [Julia] We have animator,
– [Karina] And I come from Texas where it’s just
a lotta wild yeehawing around the campus, just yeeting
myself all over the place. Where am I now? You don’t know. – [Jacob] You don’t know, I don’t know. No one knows. – [Karina] I don’t even
remember doing this drawing. What I decided to do to start off with this 3D kinda style was to just go in and do color line art so
that it kind of recedes a lot and I could just go crazy
on top of it, I don’t know. I love colored line art. As of right now, I’m kind of
really digging on Promare. Saw Promare a couple times
in theaters, good stuff. And I been dipping back
into colored line art because of that, frankly. (chuckles) – [Jacob] Yeah ’cause they do that in that movie right?
– [Karina] And it always looks really nice, yeah. – [Jacob] Yeah that’s cool.
– [Karina] But it’s something I usually don’t have the patience to do. – [Jacob] It’s the nice thing
about these challenges is it’s like for your job, we’re
making you take your time and just do your best. – [Karina] And I had a
lot of fun with this. It was just a lot of, “Well I’m just making this up right now.” – [Jacob] That’s art. That’s art, dog.
– [Karina] So these are the flats and this is where the wild shit begins.
– [Jacob] What? Oh boy, oh wow. What is happening? Oh, some things are happening now. – [Karina] Yeah, so I was just trying to make it look like the movie and that was a lot of guesswork ’cause it’s a really complicated style but it was really fun to try. – [Jacob] Yeah it’s like you’re doing a lot of textured brushes. – [Karina] Yeah, ’cause that’s
how it looks in the film. Everything’s very, I
don’t know, it’s so weird. It’s soft but also really contrasty so I used a brush I don’t usually use. I think it was the brush
beauty from Kyle’s ink box? – [Jacob] Yeah I know brush beauty. Oh, you got some little– – [Karina] Yeah I got to
break out the half-tones. – [Jacob] The half-tone brushes! – [Karina] ‘Cause there’s just a lot of very subtle half-toning and I don’t know how to change
the size of the half-tone but you know what? (laughs) – [Jacob] Good enough. – [Julia] I like it. – [Jacob] This looks rad. – [Julia] ‘Cause sometimes in that movie they did the big half-tones. I feel like it works. – [Karina] And I also
saw that in the movie the hair looks very painted,
almost looks kinda pencil-like. So just went and painted some hair. And I kinda don’t know what to say ’cause the rest of this
is a lot of just trying to figure out what I’m doing. And a lot of that is just
keep adding more shadows. – [Jacob] I feel like
also that’s what people that’re watching this that
may be into art wanna know. People always ask, “How did
you figure out how to do that?” And a lot of times the answer is, “I just messed around for a long time.” – [Karina] I just messed around. In my own day-to-day I use
a lot of multiply layers and overlay layers. – [Jacob] Oh yeah, me too. – [Karina] I didn’t
really deviate that much from that in this. Although I was expecting to. – [Jacob] They’re just so helpful. – [Karina] I started on
a, just to backtrack, I started kind of on a mid grade because I knew it was gonna have a brightly colored background. And I like to think about my values. Not in life, in colors. – [Jacob] Oh, those explosions look good. – [Karina] I like using
screen adjustment layers. – [Jacob] Oh,
– [Julia] There we go. you’re doing the thing
they do in the movie! Oh, it’s so cool! – [Karina] There’s a lot of
really crazy lighting stuff. I just went and added a
bunch of yellow highlights and I don’t know. (laughs) Screen layers. (laughs) – [Julia] You really pushed
it into Spider-Verse. I was getting the vibe of it before, and then you added that
effect to the explosions and then you added these
yellow highlights and I’m like, “Yeah, this is absolutely Spider-Verse.” – [Karina] I was very excited
for the yellow highlights. – [Julia] Yeah, super cool. I love that purple.
– [Jacob] Oh, this is so dope! – [Karina] And I think a lot
of the rest of this is just me trying to figure out what I
wanna do for the background and not knowing any better,
but also just messing around and really slowing my computer down by making the half-tone brushes – [Jacob] Oh that’s cool. – [Karina] enormous. Well, spoiler. I don’t keep this one. (laughter) – [Jacob] Spoiler, it wasn’t cool enough. – [Karina] Spoiler, I’m very indecisive. Everything I just did is gone now. I do that a lot. I like to just do whole
things and erase it. – [Jacob] I like the orbs
around the explosions though. That’s cool.
– [Karina] Yeah, I thought that was the right choice. – [Jacob] Do you keep that? – [Karina] Yeah I keep that.
– [Jacob] Okay cool. (laughter)
– [Julia] I’m so happy to see someone else who
does just a bunch of stuff and then winds up not keeping any of it because that’s usually
my M.O. on this series. If we can call it that. – [Jacob] I’ve avoided doing
complicated backgrounds in mine, as you saw. – [Karina] Well, I thought
it would be fitting to do something a little zany so here’s mine. – [Jacob] This is so dope.
– [Karina] Thank you. – [Julia] This is so good. – [Jacob] I wanna scream
it from the mountains. I wanna go up on a mountain
and scream, “This is dope.” – [Julia] This is dope!
– [Jacob] Oh man, you did such a good job Karina. This rules.
– [Karina] Thank you. I had a lot of fun figuring this out. – [Jacob] I feel like
people are gonna want this as a desktop background.
– [Karina] I was very in the zone. I’ll post it I guess. (laughs) – [Jacob] Feel free to
once this ep is out. (whoosh)
All right, Julia. Are you ready to do yours? (Julia wheezes) – [Karina] That’s a good noise. – [Jacob] That’s Julia’s hyped up noise. She’s ready to go.
(Julia groans) – [Julia] Yeah. – [Jacob] Do you wanna
tell us a little bit about what you did? – [Julia] I put the call out to Twitter and I said, “What difficult
art style would you like “to see me do?” And so many people said Ayami Kojima. The artist behind the
original Castlevania games. – [Jacob] Oh yeah.
(Karina chuckles) She’s one of my favs and also a person that I have pulled up for one of these challenges and been like, “I’m gonna do this one.” And I pulled up a
reference and I was like, “I’m not gonna do this one.” – [Karina] “I’m not ready.” – [Julia] I think this
is the first one of these that I did not have fun doing
because it was so difficult. Because she is a traditional
artist who taught herself and didn’t know any other artists. So she taught herself every medium but she uses traditional
mediums in non-traditional ways. (Julia wheezes) – [Jacob] And you’re on a computer. – [Julia] Yeah. – [Jacob] Shall we hop
– [Karina] And you went – [Jacob] into it?
– [Karina] for it. – [Julia] Yeah let’s get into it. – [Jacob] Okay, three two one, go! – [Julia] I drew Aizawa because I felt like he kinda
fit the Castlevania feel a little bit.
– [Jacob] Oh totally. – [Julia] If Castlevania had a dirty boy, a dirty tired boy, it would be him. I started off with a basic sketch because Ayami’s anatomy is a little weird. It’s a little off if
you really look at it. But it’s also beautiful. – [Jacob] Yeah there’s something very soft and every person she draws is beautiful. – [Julia] Yeah and if there’s a big pause it’s because I’m looking
at reference going, “What?” – [Jacob] “How?” – [Julia] “How, why?” – [Karina] Oh is that the part
where you sent us samples? – [Julia] Yeah. The other thing with her art is that she uses such thick oils that it creates lighting
effects on her paintings. You can see the light that’s
coming from above the painting to hit the thickness of the painting. So you see whole brushstrokes
in all of her things. Her backgrounds are apparently grease that she pushes into it. – [Jacob] Oh interesting.
– [Karina] Huh. – [Julia] Yeah and she also uses, it looks like colored pencils for the face to get those fine
details for the eyelashes but that’s on top of oil paints that’re super super thick
and mashing together and blending together. – [Jacob] Is this your inking color? – [Julia] No, this is my refined sketch. – [Karina] Because she doesn’t
– [Jacob] I’ve never seen you – [Karina] do an ink.
– [Jacob] do this color before.
– [Julia] This yellow? – [Jacob] This is a new development. – [Julia] Yeah I tried a new color because things were
gonna get weird and wild. I also used a 50% gray
background as my neutral because she tends to go very
dark when she does paintings and also Aizawa has jet black hair. – [Jacob] You’d have to let that pop a bit.
– [Julia] A jet black outfit. Yeah yeah yeah, so I had
to try to figure that out. I went lighter with everything and then you see that I go darker. – [Jacob] Can I say, I love
this composition so far. – [Julia] Thanks. – [Jacob] I think you really
captured the way she does eyes. The facial features that you drew look really a lot like hers. – [Julia] Strong but beautiful. – [Jacob] Strong but beautiful. – [Julia] And soft, it’s a mystery. And then I tried a lot of things because I had to figure out how to do an oil painting on the computer. I made the mistake of trying
to work how I usually work which is in many layers so
that I can manipulate things. But the way that oil brushes work, the Kyle Webster oil brushes, is that everything has
to be on the same layer. – [Jacob] So it will mix properly? – [Julia] Yeah, so that
it’ll mix and blend. So you’ll see that it’s kind
of streaky in the beginning and then, yeah like there you can see that it’s starting to blend. And then I start flipping
in between colors so I can blend it and push and pull it. It’s wild. Because the hair looks, the way that she paints
it, the hair looks so wet and then the faces look really really soft and also very dry.
(laughter) ‘Cause she’s not using oils. – [Jacob] Wet and soft and dry. – [Julia] It’s… – [Jacob] Also I imagine, based
on when I look at her work, that she probably spends a
lot of time on each piece and really gets into the details. I imagine it’s a multiple-day process. – [Julia] And I tried to do
that in a couple of hours. – [Jacob] Yeah that you had to
distill into a couple hours. – [Julia] And you see
me try a lot of things that I wind up just going over again because I don’t like how it’s happening. This whole facial hair, I wind up redoing on the skin layer later so
that it’ll blend a little bit because the way that she
also does eyebrows is that she oil paints it on top of a thin oil painting of the skin but then does the skin shading
in pencil or something. So you see facial hair
just come in and out. Because it’s all super super wet oils. – [Jacob] I can’t imagine using
that many different media. I can’t imagine using two media. – [Julia] It seems like
she’s just having fun with it and just like, “What if I use this thing? “What if I use this thing? “What about this thing?” – [Karina] Yeah, it’s fun to mix things. – [Julia] Yeah it’s a wild time. – [Jacob] I would be so scared. – [Julia] Yeah, especially since she was
doing it all traditionally. And I was doing this digitally. It’s just a lot of stuff happening. – [Jacob] This is looking rad so far. – [Julia] Thanks. My whole brain was busted. – [Jacob] The whole thing? – [Julia] Yeah. I started off being like, “Oh yeah I could probably figure this out. “I’ve painted traditionally before.” But again, I was still
in computer mindset. And then I just had to
completely abandon that and do everything on one layer. So I had to, I just merged all my layers and started painting again. – [Karina] Oh boy. (Jacob and Julia laugh) – [Jacob] Isn’t there something
kinda freeing about that? – [Julia] A little bit, but then– – [Jacob] By limiting yourself
you kinda feel a little… – [Julia] That definitely
was good and it was nice. And it was a little freeing.
– [Karina] It’s like a real painting. – [Julia] Yeah, here’s the
thing about real painting. I hate it, I hate doing it. – [Karina] Interesting.
– [Julia] I’m not good at it. You can see me trying to
get some shading in there and blend that. – [Karina] Ooh. – [Julia] Yeah, tried to give it depth because she does a lot of soft shading on, I was looking at
specifically the one that she did for what’s-his-face’s whip. – [Jacob] Richter? – [Julia] Yeah, there’s a– – [Jacob] Richter.
– [Julia] Richter. There’s a painting she did of Richter where he’s holding it over his head and you can see that
it’s pretty soft-looking. It looks really cool, but I
was looking at it being like, “How? “How do I make it bandages?” – [Jacob] I will say that
if you just showed me this even at this stage, and
told me what artist, asked me what artist you were mimicking, that’s the first person I would say. I think you’ve captured
the look really well. – [Julia] This was me
debating a background because she has a lot of
black and red backgrounds. Then I was like, “Oh that
doesn’t work with this.” So I got rid of it. I did include his eye, his red eye. He has red eyes, right? When he does his power?
– [Jacob] I think so, yeah. When he does his Eraserhead power. – [Julia] See, this is me
redoing the facial hair, the eyebrows and the beard. And you can see it
blending a little bit more and it gets a little softer
and it gets that paint texture. – [Jacob] Totally. – [Julia] That means that after this, I’m going to start redoing the hair. Because I merge it. – [Jacob] Oh no, Julia.
(laughter) – [Karina] This is the process. I love this. – [Julia] It’s just like realizing that you should’ve just done
it right from the beginning instead of trying to shortcut it. – [Jacob] But the only way to really learn that is
to mess it up, you know? Or do it one way and be
like, “This doesn’t work.” You have to figure it out on your own. – [Julia] For the face and
all the shading on the face I was switching between
pencil tools and oil to kinda make it work. I also just didn’t like the
shape of the hair a whole lot. So I went in and cleaned that up and then I was fixing
some of my blending there. I think my problem with it is that she is a master at
what she does, Ayami. She’s so good at what she does and then mine in comparison, I feel like I went back,
I don’t know, 12 years of art experience. Compared to hers, it looks like such a
rudimentary oil painting. – [Jacob] I think it looks like what a really good artist
could do in two hours to mimic someone who’s
a master of what they do and has all the time to work on it. – [Julia] It’s one of those things where I just wish that I
could’ve done it better. But it was hard and she’s as renowned
as she is for a reason. Oh, there’s my layers. You saw them very quickly. (laughter) That scrolling mouse. You could see my computer
freaking out a little bit at me, trying to blend some of this. – [Jacob] Computers don’t
like it when you do that. – [Julia] And then I’m trying to add some clarity and
depth to some of these ’cause it’s starting to bleed a bit because I was using some
really wet oils in there. So it was all starting to mesh together and it got kinda blurry
so I was trying to go in and kinda clarify some of this.
– [Jacob] The more you add the paint texture to this,
the more it’s working for me too, I think. – [Julia] She uses some real, she gets real brushstroke-y in clothes. You can really see that she
just kinda chunks it out. – [Jacob] And now you’re working
on some background ideas? – [Julia] So now, since she pushes grease
into the background to get that texture where
you can see the emboss of the light coming from the top, I actually, I did a trick digitally where I put in brush strokes, added an emboss, erased the
shadow part of the emboss so you just have the light,
and I put the layer on darken. You saw that it was a really bright color, so you don’t see those strokes anymore. You just see the light source. – [Jacob] You actually used an emboss, which I thought was impossible
to do in any sort of way. – [Julia] I had to think
about what that was again. I think this is it. – [Jacob] Is this your final one? – [Julia] I think this is my final one because I had to stop at some point or else I was just gonna keep
pushing and pulling forever and I probably would have
eventually gotten to a place that I really liked it, but
I probably would’ve spent an unreasonable amount of time. – [Jacob] This looks awesome though, is the thing.
– [Karina] This is rad. – [Jacob] I think you crushed it. Like I said, I feel like you’re
really failing to consider that you did this in two
hours as compared to– – [Karina] Is she like this every time? – [Jacob] Yeah she is like
this every single time. – [Julia] I liked my Goku. – [Jacob] People in the comments I know will be yelling at you right now. – [Julia] I liked my Goku. This one was just hard for
me and I didn’t have fun. But I’m glad that I did it. I learned a lot and I will
be using it going forward, which I guess is the point.
(whoosh) – [Jacob] That is the point. We’re all learning here. – [Julia] And I think it’s
also good to show people that professional artists
don’t do everything perfectly or don’t love it. They also have a rough time.
– [Karina] That’s why I really like, ’cause I
use Procreate a lot now, ’cause I love being in bed. And I like that it automatically
records your drawings unless you turn that off. I like posting those because
then people will be like, “Wow, you spent a full
two hours on that arm.” And I’m like, “Yes I did.” And they find it comforting. They’re like, “Cool, me too.
– [Julia] “I erased it “six times.” – [Karina] “We’re all comrades here and bad at deciding
which way the arm goes.” – [Jacob] It’s good to
demystify the process. The more people can see of
how much everyone struggles to sort of get the result they want, I think the more people will feel better about their own process. – [Julia] And how much of
it goes into just logistics and trying to figure it out. You never get it on the first shot. There’s just a lot of trying. – [Jacob] Art’s hard, y’all. – [Julia] Art’s hard, y’all.
– [Karina] Art’s hard. – [Jacob] But we had fun. I hope you guys had fun watching this. We’ll be doing more of these in the future so keep a look out. If you’re feeling like you
want to, maybe leave a comment with some styles we could do ’cause that’ll be
helpful for us next time. And as always, we’re sorry. – [Karina] Sorry.
– [Julia] Sorry.