Our website is made possible by displaying online advertisements to our visitors.
Please consider supporting us by disabling your ad blocker.
How to Draw Freddy Fazbear, Five Nights at Freddys
Step 1. To start off, we'll draw a circle for the head and two 6-like shapes for the arms and hands. This is just for basic placement and positioning.
Step 2. Lighten that doodle and we'll begin the actual guide lines. The under drawing will be pretty complex, at least on the head and face. Here we're outlining the top of the head, and then drawing curves outward for the cheeks. The curve in the middle is the center line of the face.
Step 3. Even though Freddy is a cute bear (sort of), he's also essentially a machine, so we have to think about perspective and stuff like that in order to draw him properly. Here I've drawn the nose or muzzle shape as a sort of box, using thinner lines to show the top and front of that shape. One large curve completes the top shape of the head. The eyes will also hang on this line. Finally, I've added some definition to the side of the head.
Step 4. This looks like a Grateful Dead bear now. Simple ovals for the eyes and nose for now. We're not getting into accurate details yet -- just proper placement. Boxy shapes for the lower jaw and inside of the mouth. Somewhat boxy shapes for the ears.
Step 5. Just marking the rest of the head details here. More shape to the ears. Added the bow tie. The top hat is seen from above, so start with an oval, working down to create a cylinder. Then draw another oval for the brim of the hat.
Step 6. I decided the lower hand will be coming toward the viewer with some foreshortening... so it's going to be big. I start by drawing the tip of the pointer finger as a large oval. Then I draw the remaining finger tips as overlapped shapes. The upper arm is moving back and away from us, so we'll draw a sausage cylinder for the upper and lower arms. A tiny blob hand is fine for now, and some marks for the fingers.
Step 7. On the lower hand, what we're doing is drawing ovals behind one another. When something's coming at you, some pieces of it will be obscured by the front-most part. Forward-most? You know what I mean. Once again, start with the pointer finger. Then do the other fingers and thumb. Then draw an oval for each section of the hand. First the thumb pad, and then the remaining palm. Next outline a large round shape for the body. A V-shape defines the shoulder on the upper arm. The little elbow curve shows the separation of the robot coverings at the joints. Tiny sausage cylinders for the fingers, starting at the knuckles and moving toward the tips. Since it's moving away from us, you start at the knuckles. On the larger hand, we do the opposite.
Step 8. Same principle is in play for the lower/forward arm. Draw an oval for the forearm, the upper arm, and finally the shoulder. Each shape gets smaller the further it is away from us. Next we want to draw a large sausage shape for one of the lower legs. Think about where the hip is, and start drawing from there. The pelvis is mostly obscured from this high viewing angle, but well draw a little triangle there to anchor the legs to the body.
Step 9. Continuing on the same leg... The knee is raised up, so the lower leg is hidden. We'll draw a boxy outline for the shape of the knee. Then we'll use large curves to create a cartoon foot. I'm honestly not sure what the feet are supposed to look like in the game, but this will have to do for now. Draw a smaller boxy sausage for the second leg. Once again, we have one leg further away from us, so it appears smaller. Each section overlaps the next, and the pieces appear smaller as they move away from us.
Step 10. Lighten up what you've drawn so far, as we'll get into the final line art, or inking. Sometimes I like to finish one piece of the drawing at a time -- the hat, the ears, the arms, etc... but sometimes it's most comfortable to stick to one area of the drawing and bang out that whole section -- especially if you have a lot of similar lines or curves. That's what we have here. Lots of downward curves. Just start at the top and work your way down the left side of the head.
Step 11. That little notch I drew into the hat brim makes it easier to pick up that curve without it looking off. Freddy's a bit old and run-down, so he's got some dings and scratches here and there. More than enough of an excuse to have some messy line art. Buahaha. Anyway. After completing the hat, we can draw the second ear and the nose. Figure out where the highlight will be on the nose before you start filling it in with black. If you have white ink or something, though, you can add the highlight later.
Step 12. Here we'll define the shapes of the nose and upper mouth better. It's a lot more round and shapely than before... Actually, it's kind of like a butt. Use a thinner line for the center line, and try to have your lines get thinner as they approach the black nose. If the outline is thick all the way around, this shape won't appear to be connected to the rest of the head and face.
Step 13. Next we'll add in the eye sockets as a pair of boxy shapes. Then we'll draw the eyeballs inside of them. From this angle, the eyeballs are partly covered up, but the space below them creates a sort of creepy expression. The eyebrows are simple rectangle shapes, but their placement is important. Not too low or too angry. It's more of a dead-eyed expression we want. Don't draw them too high or he'll look a bit too happy, and we definitely don't want that ;)
Step 14. Fill in the eye socket around the eyeballs. Let's also add some shadow on the eyes themselves. Then add the pupils. Good, he's looking creepy. Next we want to add a little more shape to the lower jaw. Just refining it a bit.
Step 15. Now we'll add in the teeth. Each tooth is a rectangular shape. Four in the front. Two on each side. From this angle, we only see the lower teeth. I'm not even sure if the mask has upper teeth, but whatever. Below the chin, we'll create a clean version of the bow tie.
Step 16. Revisiting the hand... This can feel a bit repetitive, but what we're doing is adding a bit of realism to the fingers now. Use more control in your lines, and leave the shapes open as you draw them. The back-and-forth curves create the appearance of wrinkled knuckles, which clashes nicely with the cartoon face. We're viewing the top of the fingertips here, but the inside of the thumb, so keep that in mind when drawing. Use your own hand for reference if you need some help.
Step 17. More definition on the fingers and hand. I really like the way the thumb knuckle curves outward before coming back in toward the hand. Starting from the lower portion of the thumb, a series of curves builds the rest of the digit, and then the padding on the palm. Waver your lines a bit to create wrinkles. Since this hand is so close to us, the viewer, it will have more general details than the rest of the body (not counting the head).
Step 18. Use more wobbly, organic lines to finish up the arm. This create the appearance of difference shapes within each part of the arm, and adds some texture. Think of a raisin or something like that. The body and shoulder are drawing a bit more smooth. Freddy should look generally smooth and cartoony, with the gnarled detail only appearing upon closer inspection.
Step 19. The exposed joint areas betray the fact that Freddy is actually a robot -- an animatronic character. Those bar shapes within the joints are hydraulic cylinders. Just draw some thin bars with segments. They group together toward the narrow shoulder joint, and spread outward as they move in toward the body.
Step 20. We're just using a bit more control when inking the remaining arm. On the fingers, start at the base of each finger and use opposing curves as you outline each segment of each finger. So for example... ( ) ( ) ( ) Over-curve, under-curve, overcurve, etc... This creates interesting shapes, and the appearance of knuckles.
Step 21. Add some hydraulic detail to the inner elbow joint and fill the rest in black. Below the body, we want to use refined lines to draw the thigh and knee. I felt the outline was too thick at first, so I erased small portions within each line to break it up a bit. This isn't necessary, but it creates a fun look. If you're not using a computer, that's fine. Just use thin lines to start, and double up once the outline is finished. At the hip, we're adding some more detail. There's the open joint where the leg meets the pelvis, and then the rear part of the pelvis itself. Even though the pelvis and leg are separate parts, I like how the lines are left open around the hip joint. It could easier get too cluttered there with too many lines. Sometimes you have to sacrifice accuracy for something that just looks better.
Step 22. Cleaner, bold lines on the rest of the legs and pelvis. Once again, I decided to mess with the lines on the larger foot, and a few areas on the underside of the opposite leg. I feel like this helps make the legs recede downward and away from us, so they're not visually competing with parts of the body that are closer to us and deserve a bit more attention from the viewer.
Step 23. Fill in the mouth with black. For the eyebrows, leave a bit of white highlight along the upper right edge. On the hat, we'll add a dark shadow to the center, left and bottom sides. The light is coming from the upper right. We'll add a little highlight to the lower left edges of the hat so we don't lose the line art in those areas when they're filled in with black. Finally, use thin dashes to create a nice hatched transition from dark to light.
Step 24. A few details before going into hyper detail: The mechanical joint at the base of the ear can be drawn with small boxy shapes. The bowtie is filled in black, in a similar fashion to the hair. Leave highlights to create wrinkles in the fabric. It's like reverse-drawing in a way. Next add some shadows areas to the hand and fingers, the inside of the lower arm, and the inside of the legs. Let's go ahead and add a bit of shadow below the jaw as well. We don't want the drawing to flatten out when we start adding dust and scratches. That can happen. Add too many little details, and everything just starts to look flat and unappealing. Using bold shadows helps to reinforce your main shapes with with a lot of added detail. Speaking of which, we have two types of texture detail going on here: First we have the obvious tiny dash marks, drawn from the outer edges of each shape inward to create a rough appearance. Second, we have the long, bold lines that travel down the length of the arms to create a sort of puckered look... like deep wrinkles cut into the material of the arms. Some very thin curves can help define the teeth and add extra detail here and there. One important curve is above the eyebrows. It's a very thin line that kind of outlines the face and gives the head a bit more shape. Some more thin lines help define the cheek and give the face more dimension. It's ok to keep adding more and more detail, but remember to get thinner and lighter as you go along. Otherwise it'll turn into a mess.
Step 25. Erase all your guide lines, and you should have something like this. In black ink, it looks pretty bold. The creepiness start to show itself the more you look at the details -- the eyes, hands, etc... A lot more character and atmosphere can be created in the coloring stage, but I think this works pretty well for a black and white drawing. I hope you agree, and I hope you enjoyed following along. The colored version's at the top of the page. Feel free to hit me with some feedback below. As always, thanks for viewing!
NormalCompactSlideShowDraw Sheet Uploaded:
October 3, 2014Artist: KingTutorialDifficulty:
October 3, 2014P.O.V:
3/4Favourited: 26 times
Hey, guys. I'm back with a new tutorial based on Five Nights at Freddy's. I'm trying to crank out the characters before the craze cools off entirely. Cartoony character made creepy by the details. Hope you enjoy!