Ok, let's start off with an under-drawing. We'll begin by drawing a rounded square for the head. The cross curves show us the angle at which the head is tilted.
Next we'll draw a round shape for the body, and a little V shape for the pelvis. The center line is curved in the opposite direction from the head, which will hopefully create some interesting body language.
In the game "Five Nights at Freddy's," we don't really see the animatronic characters in very dynamic poses most of the time. To make this drawing more interesting, we're going to try to add some action to Chica's pose. I just realized I don't know if Chica is a guy or a girl. Oh well. For today he's a guy. We're going to use a series of marshmallow shapes to build the arms, starting with the main hand raised up. Since that hand is closest to the camera, it overlaps the shape behind it, and so on until we reach the body. From there, the body overlaps the next shoulder, which overlaps the upper arm, etc... but that hand actually bends up a bit and overlaps the forearm a bit, so be mindful of that.
In order to push the extreme camera angle, the legs and feet will be drawn fairly small. The different angle on each leg determines how long we'll draw each shape. Pointing away from us equals a short, stunted shape. Pointing toward the bottom of the image creates a slightly longer shape, and brings the leg closer to us. As the legs bend at the knee, each lower leg is nearly hidden by the upper leg.
Lighten your drawing. Then we'll drop in some round shapes for the fingers and thumbs. Each foot has two large, pointy toes. The foot on the shorter leg (moving away from us) will be drawn smaller.
Next we'll outline the round shape of the bib that hangs over Chica's chest. Then we need to add a framework for the text "Let's Eat!!!" The letters are at an angle. "Let's" on top, and "Eat!!!" on the bottom. The top and bottom rows match up in height and width, so we'll lay it out in a rounded rectangle shape. Why round? Because it's wrapping over the round shape of the chest and body. Now stop interrupting me! Oh, wait...
The beak is perhaps the trickiest shape in the entire drawing. Let's focus on the upper beak first. From the bottom, it looks like a "U" shape. The area where it attaches to the face is like a triangle. So it's going from a round tip to a triangle shape, and that's weird. Plus, we have to draw it from an angle, and that just makes it's difficult. With our guide lines, we can mark the top of the nose area, and then mark each corner of the mouth, creating our triangle base. The sides of the triangle are curvy, like an "S" shape. Next we need to add the "U" curves. It's tricky because they're skewed, so after you've drawn it, take a step back and see if it looks right. Flip the image to double-check. Then we'll move on.
Add the eye sockets and eyebrows, just like in the Freddy tutorial. All these guys' heads are basically the same. It's the details that set them apart from one another. So ok, the bottom part of the beak is another "U" shape. For some reason it's making me think of a toilet seat. the angle on the "U" is different from the upper beak, as we're looking down on it. The curves are similar to the beak above, but stretched out longer downward.
Draw a line from one corner of the mouth to the other. On that line, draw four squares for inner teeth we'll detail later. Along the lower jaw, add a series of box shapes for the teeth. There's a gap between the two front teeth, and there are no teeth on the upper beak. For now, just be sure the lines separating the teeth point toward the center of the mouth. We'll have to focus on perspective a bit later. Before moving on, let's pop some feathers on top of his head and add the pupils staring straight at us.
Lighten your under-drawing and we'll move on to the final line art. We'll begin with the larger hand, since that shape overlaps the face a bit. The technique is very similar to the one I used in the Freddy Fazbear tutorial. I've just added more detail here. Simple rectangle shapes make up each section of the fingers. We'll outline those with soft curves and some messy lines. Be mindful of the curves that create wrinkles. Look at your own hands for reference. When adding detail like this, any little line or shape on your hand can give you an idea for the drawing. Just be sure to use thinner, softer lines and markings when drawing the details. We're using extra-thick outlines for the major shapes, so we should be ok here. These techniques will continue to be used for the remaining steps. Since hands are kind of hard to draw, this is a good thing to start with.
Beef up the outlines a bit. This is important on all the major shapes, but especially this upper hand and the head. We want those shapes to stand out and appear closer than the other shapes. The outlines at the feet will be thin by comparison. So on the arm, we're basically drawing barrel shapes, kind of like the Combos snacks. Those things are gross -- especially the ones with cheese. Ugh. So anyway, you don't need to add this much detail if you don't want to. The main point is to draw that barrel shape at different angles for each section of the arm. In the game, the characters don't have elbow pads, but I've given Chica some elbows because I think it works for this image. In the hollow joint areas, we have metal rods surrounded by black shadow. You may want to wait to draw these until we have the shoulder in place. I had to go back and redraw them to make the angles fit properly.
So I realized I wanted the upper beak to stick out a bit further, past the edge of the face. With the basic shapes drawn earlier, we just need to kind of hints at the interior shapes in order to make the beak look like a beak. Does that make sense? We're not outlining the entire "U" curve from earlier. Instead we'll just draw the edges curving in from the sides, tapering off into little dots and then into nothing. The extra curve bending down from the far nostril helps to shape the top of the beak, and the little under curves around the "lip" also help to make the rim feel round, and like it has real dimension to it. The head itself is shapes ridiculously close to an apple. Not much else to say about it. Detail the center feather/leaf and leave the other two fairly simple as they're viewed more from the side.
The eyeballs sit deep inside the eye sockets, leaving a dark space above them from this angle. The simple rectangles for each eyebrow are black, but have white markings along the top edge for texture and highlight. The light source is from the ceiling... so basically from the top of the image... let's say the top-right. So that's where our highlights will be. On the pupil and iris, and later on the white of the eye, the highlights will be in the top-right area of those shapes. In Step 13-2... not that I labeled it "13-2," but you know what I mean... I went nuts with the detail. I added some skeletal structure around the bridge of the nose between the eyes. Hatched shadows spread out from the center of the eyes, below the beak, and below the thumb. Again, keep the details thin and light so things don't get too messy. Having some empty white spaces is important, otherwise it'll all start to look flat.
This step turned out to be more difficult than I'd anticipated. The tricky part is the angle on the teeth. Drawing them individually turned out awful. The solution was to draw a curve for each edge of the teeth as a whole: One along the edge of the beak, where the teeth meet the gums... One along the front edge of the teeth (both curves overlap toward the right edge)... One curve for the back edge (completing the tops of all the teeth)... and finally, One curve where the teeth meet the gums in the back (this only appears on the right side). From there, the lines separating the teeth (on the tops) point toward the center of the mouth. On the fronts, the angle on that line changes. The inner beak is sloped inward, and we have the set of inner teeth surrounded by blackness.
Start with the shoulder here. I really wants to give it a round, tear-drop shape. It's like a piece of animal shell or something. The head casts shadows downward onto the body and shoulder. Instead of drawing one big curve around each shape of the body, I draw the side curves first and then turned the image to draw the bottom of each curve. Here's the tricky part with the shoulder and the endoskeleton: You have a bar coming straight out from the body, along the collar bone line. Then there's a ball joint, and a metal rod shoots down the center of the arm to the elbow. Draw that ball joint in the shoulder first. Then go back and draw the elbow. Finally, you can draw straight lines behind the shapes of the arm to joint the elbow and shoulder. For reference, search for "hydraulics" online. For the text... You can do this a bunch of different ways. I started with the corners of each letter, building up ink and then joining one blob to another to form the lines. Finally, some more shadow is cast onto the body from the beak.
The thighs are drawn with the same basic technique we used for the arms, with metal rods in the joint between the legs and pelvis. I've used very light curves to give the bib some added dimension. Rather than a cloth bib, I think it's more like a solid piece of plastic that's rounded. These thin curves and markings help to give it that round shape, as well as create a little highlight around the edge of the bib.
The lower legs and feet are made of a harder, smoother material -- likely plastic. Whatever it is, it's the same material as the beak. For these shapes we'll try to use smoother lines to show the difference in surface texture, compared to the lumpy, gnarled forms of the body. Large sections of the feet will be in shadow. These shadow shapes can be drawn with smooth curves, leaving a white highlight along the edges of the foot shape. This should help us achieve a somewhat reflective appearance.
To wrap it up, we'll detail the remaining arm. It's sort of business as usual here, but one thing to be mindful of is to not detail this arm too much. It's smaller and further away from us, so I guess that should be a no-brainer... but I was over-detailing it as I worked on it. It's important to step back and look at the entire image sometimes before going in and detailing a small section. You want to achieve a sort of balance across the entire figure. When drawing a lot of detail, it's easy to go out of control. Once one area has a ton of detail, you have to balance that out around the rest of the body. So don't go nuts like me and create more work for yourself! (sigh) Once again, look at your own hands for reference. I keep saying that, but it's true. Just do it.
Erase your under-drawing and you should have something close to this. Yeah, this is definitely the most detailed of the Five Nights at Freddy's images. Perhaps I'll go through and do a simple tutorial for each character before moving on to... FIVE NIGHTS AT FREDDY'S 2!!! (Is that real or is the internet lying to me?) In any case, I hope you enjoyed the tutorial and were able to take something away from it. Feel free to leave feedback below. Thanks for viewing!
Sorry for the wait, guys. I've finally completed the fourth tutorial for Five Nights at Freddy's. It seems like the drawings have become more detailed as I've progressed, but I think everyone will be able to follow along. So without further ado...
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