To start off, we need a round shape for the head, and we'll draw a smaller circle for the nose at the bottom edge.
Next we'll add the snout and cheeks, using a series of squat, round shapes. The front shapes are almost rectangular, and each half of the snout angles up and outward from the center.
Using rounded rectangles, we'll add the eye holes in the mask. At the top of the head, we'll draw two large ovals angling up and outward to form the ears. Forgive the wobbly lines here.
Beneath the snout, we'll draw a U-shape for both the inner and outer edges of the lower jaw. We'll draw a peanut shape for the body. This is a downward angle, so the head will obscure most of the chest.
Use simple curves to build the pelvis and shoulders. The arms are going to be draw pointing backward from the body, like he's running at you with his arms just dangling behind. Therefore the shoulders are drawn at a sort of extreme angle.
Draw a marshmallow shape for each upper limb. Both arms are at a similar angle. The legs are in a running pose, with one leg coming forward and one going backward or downward. The front leg grows larger at the knee. The other leg grows narrower.
More marshmallow shapes for the lower limbs and hands. The hands stick out to the sides at a slight angle from the wrist. The front lower leg appears short because of the downward angle.
We'll build the remaining shapes of the feet and fingers with more marshmallow shapes. Then use simple curves to add sections to the ears. With that, all the major shapes are in place and we can focus on the detail from here onward.
Lighten the guide drawing, and we'll begin the detail at the top section of the ears. These shapes are a good template for the rest of the body. We have a thick outline with bits of black removed to give it a gritty feel and to remove a bit of that cartoonish feel from the character. It's a cartoon character, basically, but we need to make it look old and beat-up. The "inner ear" seem is outlined with a much thinner line, and we want to let the line break up a bit to make it look a bit more realistic. Even here at the beginning of the drawing, we can start to add some curves for wrinkles. These can cross over the inner ear fabric, and/or they can cross from the center to the outer edge of the ear. The angle of the curves is important. If you feel something's off, step back and look at the shape. Feel it out, and remember you want each section of the body to have a round shape. Your eye and your brain will be able to help you figure out some of these details automatically. Finally, beneath each upper ear, we have a metal hinge joint. You should recognize these from my previous Freddy's tutorials. Be sure to check those out.
The lower ears are similar to what we just did, with the addition of the hole in the mask drawn below. From there we can start to outline the main shape of the head.
Whenever you're drawing a symmetrical shape like a head or face, it's important to flip your drawing to be sure everything is even. You can do that by flipping your paper and holding it up to a light source. It's really the best way to see if something looks wrong. I noticed some problems in the guide drawing here, so it took a few times drawing the sides of the head to get them even. At this stage I've added a seem line running across the top of the head from left to right, and curving down the sides. Small curves on the sides of the head near the eyes help to retain the round shape of the top of the head, even after we erase that thick, round guide line later. On the nose, I've drawn a circular highlight and outlined the edge highlight. This will be adjusted later.
the outlines of the outer shapes are more thick and bold, especially toward the top of the body since it's closer to the "camera," which is us. The inner details of the face and body can be drawn with thinner lines. Even though some of these shapes will be filled in black, it's important to not get crazy with thick black lines when drawing these kinds of details. The round eyeballs are about half-hidden by the top of the eye hole, and there's a large black space beneath each eye. This, with the added eyelid, are pretty much the main details that make this guy look creepy. It's like eyes sunken inside the sockets on a skull, especially when combined with those teeth. I think there's a tendency to make "scary" characters have angry eyebrows, but the scare factor on these guys comes from the expressionless faces. The downward angle on the head allows for the creepy expression in the eyes, but from most other angles the face would appear to be fairly cute and happy.
After adding the lower set of teeth and filling in the black spaces, I've gone around the head and added detail in the form of scratches, wrinkles and shadows. The top ear sections cast a shadow on the section beneath them. The upper jaw casts a shadow on the lower jaw. Use subtle dashes to indicate those shadows here. The rest can be done in pencil or color shading later. Although I just got done talking about staying subtle with the eyebrows, I decided to go in and add very fine detail to outline some of the skeletal shapes for an added creepy effect. These details aren't necessarily in the original mask from the game, but I feel they add a slight sense of realism that clashes with the cartoon forms to give Bonnie a sinister appearance.
So even though we just added a lot of detail, it's important to remember not to go overboard with detail. Especially in something like this, where we're drawing one section of the body at a time. Once you add a lot of detail to one shape, you pretty much have to add the same amount of detail to every other shape on the figure. *shrug* So here we're outlining the body and adding a simple bowtie. With the tie in place, we'll outline the belly, similar to the "inner ears" above. You can see I've begun to detail the one shoulder at this point. The rest of the body comes next.
We're going to use those subtle dash marks again to build shadows on the sides of the head, beneath the cheeks, and beneath the lower jaw (casting down onto the bowtie). There are also some subtle shadow dashes drawn upward from the bottom of the shoulders. For the remainder of the body detail, you could kind of picture a potato in your head. Mostly round, but with lots of little imperfections and marks all over. It's important to distribute these types of details as randomly as possible. Sometimes when you TRY to be random, everything ends up being spaced evenly, like leopard spots or something. You want to leave some large spaces with no details, and bunch some details together in groups. Also vary the weight of your line when drawing these details. A thick dash next to a thin one, etc etc etc...
I like adding these deep wrinkles to the fabric on the arms and legs. Maybe they sort of look like raisins. I don't know. The point is... leave more open space in the center of each shape, and let the wrinkles grow darker and thicker toward the edges, eventually merging with the outline of the shape on the underside. We can see just a hint of the elbow hinge joints inbetween all these wrinkles. I've used some more dash marks to add shadow to the underside of the arm. Using thin, broken lines, I've added some curves to the leg to mimic human muscle anatomy. This give the shape a bit of a twist and an overall lumpy feeling. Zoom in to see the tiny, thin dash marks used to add very slight shadows and dimension to the edges of the leg.
More gnarled marshmallow shapes for the leg and hands. The fingers are drawn as little overlapping, interlocked marshmallows. The hand overlaps the first section of the finger, which overlaps the next. Draw the fingers on each hand at slightly different angles to the opposing hand. Since Bonnie is a robot, the fingers can even move at unnatural angles.
We'll use the same techniques from the ears and arms to complete the legs and feet. Simple shapes with uneven outlines, and thin details within. Note the faint edge on the front and sides of the toes. Drawing such a cartoony shape for the feet can result in a flat shape. Details like the wrinkles around the base of each toe, wrinkles curving in from the sides of the feet, tiny dashes around the edges, and that faint outline separating the top and sides of the toes all come together to break up that flatness and add some complexity to an otherwise simple shape.
Looking over the image, I can see all the detail kind of exceeded what we did on the face and ears. SO... we'll go back up and revisit those areas, adding faint details to even out the drawing. The face is really our main focal point, so in a lot of ways it needs to highest level of detail. Zoom in to see how I curved inward from the edges of the snout to create poofy shapes and wrinkles, like a stuffed animal or pillow. Lots of dust and scratches added to the ears as well. With so many little dash marks all over the place... some are straight and some are curved... the detail does eventually start to feel uniform, and even boring. To mix it up, you have to kind of feel out some interesting, unique shapes within the figure. For example, look at the top of the forehead. Using a series of very small markings, I've built up a weird little curve that bends one way and back the other way, eventually splitting into two curves and fading out. It's uneven, it's asymmetrical, and it works. One thing that's hard to teach is sensing balance. Look at that curve, along with the other red dashes on the forehead, and see how the relate to the marks around them. You have those surrounding marks, and then you have the overall shape of the forehead, and you have to take all of that into account each time you lay in a new detail. A little here, a little there... and then you have to know when to stop. It's tricky, and it takes practice, but it's good to keep that in mind and consider it while you're drawing.
Erase the guide lines and this (or something like it) should be the result. At this stage you could go in with either white ink, digital software, or even a hobby knife to sculpt out some of that thick outline and create a more cohesive, realistic outline. I'm going to leave it as-is for now, because I want this to be a cartoon type illustration. When I mention the hobby knife... You only want to use that if you're drawing and inking on thick paper, like Bristol or something like that. Also, you need to be safe when handling a blade. Having said that, what you can do in some instances is go in with the knife and scratch away bit of the ink from the paper, opening up some white spaces. Like I said, this depends on the paper you're using. Sometimes it'll leave a rough patch, but if you're planning to scan or photocopy the artwork, it's all fine. That's just one more technique to consider, depending on the circumstances. *pause* I think that's about this. I think Bonnie looks good in black and white, but the color image is at the top of the page. I like the angle we used for this character. Feels menacing to me. Anyway, I hope you enjoyed. Post your comments below, and thanks for viewing!
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