Improve Your Sketching Speed – 5 Minute Concept Design

Stan: Hey, I’m Stan Prokopenko. Welcome to Proko. Today I have a special guest: Anthony Jones,
AKA, RobotPencil. He’s worked for companies like Blizzard, Sony,
Hasbro. His creature designs are insanely good. I was especially amazed by how much he can
do in just a few minutes. So I asked him to share some of that with
you guys. In this video, he’s gonna show you how working
quickly can benefit concept design. If you wanna see more of his work, go to Anthony: Hello, everybody. My name is Anthony Jones. And I’m going to be doing a tutorial for you
guys on quick painting, there’s five minutes. We’re going to go ahead and start, and I’m
going to talk about it as I go. When you have speed, it helps you make choices
much quicker. But the speed that you’ll need in our industry
is really, really valuable because you’ll be told a lot of time to make change and those
changes might be dramatic. You have to have some sort of skill to be
able to make those changes, make those iterations. And speed helps with this because if you can
just kind of go ahead and paint quickly, you can probably get the design or new version
of the design ready to go in a short amount of time. When you have like a director or someone who’s
in charge telling you, “Hey, you know, we want you to add the feathers,” or whatever
it may be. With the ability to just kind of paint quickly,
you can either make those changes, which I’m gonna actually demonstrate in the second one,
or you can basically just paint in a new one. A lot of times people are afraid of starting
over or starting a new drawing because they’re afraid that they’re going to make a huge mistake,
or the all the work that they spend on the first one was worthless, or basically, a waste
of time. But the reality is that every time you paint
and every time you practice, it’s not a waste of time, it’s actually more practice and more
knowledge that you’re gathering over that time. Now, you might not like what you’ve made and
you might not appreciate what you’ve made, but it is adding to your pool of knowledge. And so starting over isn’t necessarily a bad
thing. It just means that maybe you made some bigger
mistakes that you just…it’s just gonna take more time to clean them up, then to basically
just start over. And this actually happened to me once. I was working at a studio and during the studio
time I was painting this painting for about five hours. I was really feeling good about it. But, you know, normally I like to do sketches
and sometimes I’ll do sketches in between my actual work. So I had this five-hour painting and then
I had my sketches. So, you know, it was lunch, so I decided to
save and then I saved both files and then I went to lunch. When I came back, I realized that I accidentally
saved over it. And so now I was just kind of stuff, right,
at least that’s how I felt. But then I, you know, had a buckle down because
it’s still a job and I had to get it done. And I decided, “you know what? I’m just gonna have to do it again.” I remember calling my wife telling her, “You
know what? I’m gonna stay a little later. I’m sorry, but, you know, I made a huge mistake.” And she said, “Oh, my gosh, no,” you know. And so then I went ahead and started over. As I was starting over, it became very clear
to me that the reason why the first painting took five hours was not because it needed
to take five hours, it’s because there were so many mistakes. Because the second time through, not only
did I paint it faster, it was better. And now that I had time, now that I had this
ability to kind of just sit down and just work on it, I felt liberated. I felt like, you know what? I can really make some changes. And that’s when I learned the power of speed
and the power of just kind of making sure to just get the work done. And if you feel bad, just start over. And then I just kept on practicing. After that, I just kept on practicing and
practicing speed. And then now I’m, you know, here painting
things in under five minutes. There you go, time is up. Best Practices. Like what can we do to get better at speed? One of the first things that I usually do
is try to have pretty good marks on the very first marks that I make, and I’ll make like
another bird creature. And so like having an overall like shape and
pattern from the start is gonna be super helpful. You might notice that I’m not like stressing
out, I’m just kind of painting in, taking breaks, setting my timer down and putting
in the right position. Because these are best practices. So like feel confident, feel that you have
control. This is not easy, I get it. And so this is why, you know, it’s called
Best Practices or at least I’m assuming this is why because these are things you should
be practicing because if you do it often, then you’ll…it’ll just be second nature
to you. And so stuff like, you know, laying out an overall
shape, that’s what I did. You know, feeling comfortable with my workspace,
that’s what I did. Like just getting everything set up so that
way I don’t feel fidgety or I feel anxious because I think anxiety might mess up my drawing,
right? I just feel comfortable and so that way when
I get into it, I don’t stress out. And I can have my mind fully running the show
in the way that I want it to run, right, and which is basically trying to paint this kind
of whole weird beard creature. A beard creature? Sorry. Bird creature. See my mind is so focused that I’m saying
the wrong words because I only focus on the painting, which will be another thing that
you might notice is that I’m talking while I’m painting. And the reason why this is possible for me
and which probably is not possible for others is because, you know, I am a teacher by trade. And so, again, this is just more best practices. I’ve taught myself how to be able to paint
and talk, I’m sure you’ve seen this with many other instructors that are worth, you know,
viewing. But like this is another thing that I practiced
when I was in school, whenever I was hanging out with my friends. And this is just something that I continuously
do. Another thing that I think is really good
for best practices is practicing outside of the work that you need to do. So for instance, this is something that I’ve
kind of done before. I’ve painted these types of things many times. And so it’s not like that challenging for
me, not because it’s easy, but because I have trained for it. Just like an Olympic athletes, you know, like
let’s say Olympic runner, probably can run a couple miles, no problem, not because, again,
running a couple miles is super easy. But because they’re trained, they’re trained
individuals and running couple miles is what they do. And so if you find an artist that you see
like painting something that looks so miraculous, like something that looks almost magical,
like kind of like they have to have something, because whenever you do it, it’s just incredibly
challenging. But the reality is that they’ve just practiced
and practiced and practiced. And that’s the biggest difference between
you and them is that they may have spent way more time practicing the various fundamentals
that you are not practicing. And this is why they are, you know, demolishing
you, per se, in this particular field that you feel demolished in, right? The reality is, like, no, they just have a
little bit more practice, a little more skill. It’s pretty simple. And so I like to remind students of this because
sometimes whenever someone sees someone that paints really good, really effective, they
look at themselves and they become incredibly insecure. And these insecurities are justified, you
know, because, you know, like you aren’t as good as you may want to be. But they are not insecurities that you should
harp on. You should let them sit still and just build
up because then you should follow up that with, “Okay, I understand why I feel this
way. But it is because I need more practice, I
need to feel more secure with the way I feel about my work. So the way to get this, I need to
practice and just trust that this will work.” And this is why I almost always recommend
that people should invest more time in practicing things like patience, resilience, versus trying
to find motivation and inspiration. Because if you’re looking for motivation and
inspiration, you’re just not going to find it every day, there’s going to be days where
you just don’t want to draw. And that’s really what makes the difference
is that… Times up. This is as far as I got. That’s gonna make the difference because if
you feel inspired, then it’s easy, right? It’s easy to kind of get to work. But if you don’t, this is what makes the difference
between those who really push themselves and succeed at the things that they want to succeed
in versus those who don’t, it’s nothing more than that. Because if you don’t feel like doing it, but
yet you still do it, then that’s really powerful. And that shows a lot of discipline. And that’s what you should put more of your
time and money in. Anyways, let’s move on to the next one, talk
about some design challenges. Let’s do five minutes again. The design challenges are usually like whenever
you are put into a position where, let’s say, your design has a huge amount of detail or
texture or whatever and then someone, like I mentioned in previous section, like wanting
to make a major change and these major changes are like change the whole beak, whatever. This is something that speed, like I was talking
about earlier, is really powerful. And if you can really focus in on this type
of stuff, it’s great. So check it out. So like I’m gonna kind of like detail this
up and I’m gonna move a little bit faster, just so I can take this five minutes and actually
make these changes that are reasonable and demonstrate what I’m talking about. And I guess I could’ve took one of my earlier
ones, but I wanted to do fresh drawings each take. But this will definitely simulate like some
sense of pressure. Obviously, this will be a real life situation
where like my art director or director is like, “You have five minutes to make these
changes.” I’ve never been in this position. And, in fact, drawing it five minutes is unreasonable,
like you guys can use more time. Yeah, like six minutes, six minutes is way
more reasonable. I’m just joking. Somewhere around like an hour or two hours
is a good amount of time to kind of really finish one design to a really good quality. Like the stuff that you see, I think would
be like 20% there. I can usually get something pretty reasonable
in about, you know, an hour or so if I really focus. And so right here, I’m just demonstrating
like the value of like speed because if you can get like a good sketch within the first
few minutes, in this case, five minutes, then it’s really powerful overall. All right, so let’s see what we can do here. So let’s say, you know, my boss asked me to
change the beak or move the beak up. So, you know, I’ll just do that.
I’ll just basically say, “Okay.” And so, again, speed allows this confidence
that most people don’t have because if you’re not…you don’t have some sense of quickness,
then making these changes are going to feel overwhelming and you just don’t wanna do them. A great example of this, I’ve been teaching
myself programming, is that when I used to not be a programmer, you know, I’ll usually
make these cases of like, “You know what would be cool design,” or, “You know what we should
put into the game?” And the programmers would always make a comment
about like, “Well, that’s so much work,” and all that stuff. And a lot of what they were saying is true,
but I didn’t understand why it was true and what was true about it. I started discovering that the reason why
this is true is because many of the infrastructures or data structures, basically, were built
around kind of like a house of cards. Basically, they were built in a way that might
have been very destructive. So if they made some changes, it might have
changed a lot of things, or it just takes a lot of time to just go through a series
of information. And how this relates to painting is like the
same problem, like if you spend all this time feeling like you’re just walking on your toes,
you’re not really in control of every aspect of your painting, then making changes feels
overwhelming. But if you practice speed, speed helps you
get to that. And so the programming, I’m practicing that
same thing. I’m practicing like what are the fundamental
ideas that I need to master and perfect so that way I can make huge changes to my code
if I needed to? Just like for me, it’s like I have a strong
foundation in anatomy, perspective, all the stuff. So it’s easy for me to come in here and make
some major changes because I painted it so why can’t I paint it again? And so you can see right here, I made those
changes, you know, moved the beak up, and it wasn’t too big of a deal. Speed isn’t just about like, you know, getting
something done quickly, it’s also about making changes quickly. Because if you could paint something pretty
fast, then you can make changes pretty fast either by just moving things around or adding
new details, or taking away details, or just starting over entirely. And so the design challenges that may come
will not feel so overwhelming, especially if it’s in the scope of your skill, which
it should be. If they hired you, they hired you for your
skill. If they hired you originally as a concept
artist but then asked you to do gardening, yeah, I can see how that would be like, “Okay,
well, I don’t know how to do that.” It’s very unlikely that they’ll ask you to
do things out of your scope. So ultimately, what is my overall workflow? Here is 10 minutes and I’m just gonna jump
right into it. I like to just kind of lay in. I feel way less stressed. I like to lay in kind of my designs and then
I like to just like get a broad sense of the details instead of like just detailing. So for instance, like I’ll just like draw
this beak in but then let’s say I’ll draw these squiggles to help me get a sense of
like secondary and potential tertiary forms. But I never really get in there and paint
too crazy. And then once I have had some good luck with
the overall shape, then I feel confident just lying in some larger values. Once I feel that like I have some good values,
then I start to the actually detail. And my detail still works in stages, so you’ll
notice that like I’m not necessarily going like hardcore with the detail and I don’t
zoom in. And I’m sure you guys heard of an artist name
Marshall Vandruff. Now, Marshall, I went to one of his workshops. And one of the things that he said that I
really love was, he said, “You know, draw small to solve the big problems and draw big
to solve the small problems.” So, basically, if you draw small like this
scale here, then you’re going to solve a lot of the major problems of your design. But if you zoom in like this, you’re only
solving tiny problems of the design. And I kind of stuck with that for like, I
don’t know how many years. I’m going on to like maybe 10 years of just
taking that lesson to heart, because he’s been doing workshops for a while. And it was like I think it was about 10 years
ago. A lot of times I will notice that if someone’s
painting is like all over the place, it almost always is because they had zoomed in way too
much and a lot of their painting suffered because of that. Once I laid in some basic forms and some basic
design, then I’ll start to actually paint in some strong textures. Yeah, check this out. Now we’re getting somewhere. Surprisingly, this is only been four minutes. So what I’m going to do with that extra time
is just straight up detail. And I’m gonna try to really bring this concept
home. One thing you’ll notice too is I don’t really
have my interface up on Photoshop and that’s by design. Like I actually prefer not to have my interface
always around. I can paint with it around as well. But here’s the thing, when you’re painting
and drawing with like traditional tools, there’s very little interface, right? And all the interfaces are pretty much self-explanatory. Basically, like whenever people will start
to focus in on their tools, they get really distracted and they tend to like really make
ton more mistakes than they would if they didn’t have all this interface. And so I usually tell people to like just
kind of remove a lot of the interface from the very beginning and just learn new interfaces
as time goes on. Like, if you didn’t know how to use actions,
you know, like learn how to use actions. But if the actions is already opened by default,
just close it. Like if you don’t know how it work, just get
rid of it. If you don’t know how adjustments work, get
rid of it. Just get rid of everything. Just start with like the basic, basic, basic
stuff. If you have access to the internet, which
I’m assuming you do, you’re watching this video, anything that you might have needed
from closing out, you can probably figure out from just going online. So now we have about four more minutes so
I wanna really get it here. I’m gonna zoom in just one more level, we’re
just gonna make this head really, really nice. For me, like, you know, it’s really important
to master your tools because it allows you to free your mind and paint what’s on your
mind versus what’s the right brush or what’s the right button to push. You know, you don’t wanna think about this
stuff while you’re painting. So how do you practice and mastering your
tools? Well, you can basically watch plenty of tutorials
online on specific tools. One thing that I like to do is try to make
simple but really achievable things in the set tool. And if I feel comfortable within those parameters, that makes it easier. Like so for instance, in Photoshop, you might
wanna try to paint clothing or do figure drawing or do something that you feel a little bit
already pretty comfortable with. And then once you do that and just keep doing
that until you feel comfortable, then try to challenge yourself with something a little
bit more daring. Maybe like a creature or concept design of
your own making. But, again, if you weren’t able to do it outside
of the traditional media like…I’m sorry, without digital media, like if you couldn’t
do it traditionally, it’s not like Photoshop is gonna all of a sudden make you be able
to do it. Usually, the problem that I see is people
make that false assumption that when they’re in concepts or once they’re in Photoshop,
they can now concept. If they weren’t able to concept on 2D then
they’re not going to be able to concept in 3D or in Photoshop or whatever tool that they
tend to use. If they were to be able to concept pretty
well in basically like paper and pencil, I’ve seen this, then it’s just a tool thing. And I’ve found that if I tell my students practice
like still life and just basic painting stuff, and stuff that is really easy to kind of just
master or basically wrap their mind around it because they already have a good skill
in that specific thing, then learning the tools will eventually allow them to do what
they can already do in some other mediums. But if you don’t know the tool, then what
are you expecting? You wouldn’t think that an oil painter can
all of a sudden transition to watercolors really easily. They can transition and if there’s enough
time given, they will eventually transition and the skills that they have in oil painting
will transfer over. But like, you know, if you can do chalk drawings,
doesn’t mean you can do ballpoint pen drawings, right? Or brush pen drawings. These things take time to acquire like the
tools. And then once you’ve acquired them, then yes,
go for it. Let’s try to make some good work. We’re almost on the last minute, let’s try to
like add some overall feeling of depth. I’m gonna use a different brush. I’ve been using pretty much the standard round
brush the whole time but just because this is the last demonstration, I’ll make it look
fancy. And we have about 10 more seconds to go but,
you know what, those extra 10 seconds aren’t necessary. Thank you guys for watching this video. I hope you enjoyed these last pieces of concepts
that I’ve done. Like I was trying to tell you guys, I’ve done
these types of things many times. So do not feel overwhelmed by watching someone
like me paint this. This is what I do for a living. I’m a professional but it has taken me many
years to practice this. And so I wanna leave you guys with a few thoughts. Practicing speed is not just to impress your
friends or other artists. It’s also really practical for obvious reasons
like you can pump out more work more quickly, you can iterate more quickly. But really what it does for you is that I
think people don’t realize is that it really helps build confidence in your skills. Because if you could do it pretty fast, generally
you’re pretty confident. And that confidence is really powerful because
it makes you keep painting and if you didn’t know, that’s what you gotta do to get really
good. So thanks again. I appreciate you guys for checking out my
little tutorial that I did here. Hope you guys have a great one. And, yeah, I’ll see you guys around.


  • Tim Levane

    Fun Video, Thanks for sharing!

  • jasneskis

    You should say computer sketching, I thought this was going to be pencil and paper. I work in the field, not studio. Not useful for me, probably good for studio computer sketchers. Never watched the whole thing.

  • Megumi Hayashida

    I love his minimalistic approach yet ultra sophisticated designs including the fact that his foundations are so on point that it gives the illusion he rendered it through zbrush or 3ds max. Respect

  • Jovon BlackPixel

    Anthony ALWAYS has a COLD… sniff sniff

  • ahmed essa

    I wasn't ready for that intro

  • Federica Morales

    Amazing video, thank you!!

  • ••Army_ T••

    Me encantó mucho 😍

  • Eternal Bliss

    he draws faster than a time lapse video

  • Bulat Gaynullin

    Damn, I love it when you invite other people to your videos!

  • O.G. Syrup

    "Draw SMALL to solve the BIG problems and draw BIG to solve the SMALL problems." This sentence alone has blessed me in many ways. Thank you Proko and Anthony.

  • Klay Thoring

    This was so helpful and made me feel a lot less anxious about sitting down and starting fresh or starting over. Thanks !

  • Draw Every one

    Speed always wastes half part.

  • Ka Lai

    Wow this is empowering video. Thanks Proko for sharing Robot Pencil words of wisdom.

  • JamTronArt

    Wow, that last masterpiece completed in just under 10 minutes…amazing! Drueling all over the keyboard in dismay. That sounds weird…

  • Eraghoul

    More of these guest artists please 🙏🏾

  • Anirban Bhattacherjee

    Software name? please

  • Zzz

    All of these designs look like variations of the same thing.

  • Leonardo Fernandez

    I'm loving this videos, Proko. Thanks.

  • Sepehr Hexz

    the very first brush lines that you draw is very important for your process.

  • Red Ash

    This is really inspiring! Thank you c:

  • Nic Mooney

    How does he get that kind of workflow with changing the opacity and brush size so fluidly? Like how can I configure Photoshop to do that?

  • little Mayo

    Someone once told me that motivation is a jealous bitch and will more than likely come back when you start doing the work because it can't stand the thought of you working without it

  • van maan

    ive met Anthony jones at comicon manila and yeah hes so good at his craft. theres not such thing as talent in art, "you have to practice every single day and that is what you called skill – Anthony jones.

  • Keyboardje

    To me it looks like he's quick because he only does the same thing over and over again. They're all just variations of the same ugly turkey.

  • YouTube Bitch Center

    Anthony’s affinity towards bird creatures? His parents were condors! Those things look like nightmares in a good way!👍

  • Gary Esposito

    Thanks for the info…To compare digital to traditional mediums is somewhat of a false equivalence. Granted design is paramount, but in terms of difficulty traditional tools are much more difficult. During the process digital ads its own distinctions, and is much more forgiving.

  • Ian Borukhovich

    Even his wisdom is well trained and automatic

  • Bartlebe

    Ah yes…breast practices. I'm in "that" part of youtube again…

  • ArtofZeesan

    A Bunch Of Great Masters you Make us see Proko Thank you


    nahh speed is nothing.accuracy is everything.

  • Rknee Gordon

    I started using this brush again. Allowed me to step away from details.

  • SinerAthin

    I remember when I decided to start art as a hobby, I thought getting myself a tablet would revolutionize my art as paper was limiting.

    In a way, it both did and didn't.
    My art skills remained mostly the same, or even decreased at first as I was getting accustomed to a new medium.
    On the other hand, the whole slew of tools and digital options gave me more freedom, and the whole process encouraged me to draw more. I.E. get more practice.

    So in a way, getting a tablet did revolutionize my art 😛

  • herrapan95

    I don't know where my career would have been without you Anthony. Thank you so much for everything you share <3

  • Red Onion

    thank you.

  • Jenny Putnam

    So fabulous, helpful and groovey creepy creatures.

  • CR1M3 L0RD

    it took me half an hour to draw a h e a d

  • Snarky Noonan

    I think I learned more from this video than a whole month trying to draw sexy waifus. Still life… feelsbadman

  • Myrk Fælinn

    This is the way I do it sometimes. But I always thought I suck doing it this way….

  • Tracy Cheveroni

    Y me quedé así ira

  • The Art of Rianna Stahl

    Very interesting. I do love his work, you can see how his specialization in design (sci-fi looking creatures) influences his sketches.

  • Tyler

    he has a bunch of very affordable lessons on STEAM , i reccommend them.

  • BioBoosted

    what is the program? or the brushes?

  • GaNGPLank TheKeg

    Does he have a value slider hotkey? Because like how is he just changing values without going off to the side and using the color selector.

  • Molious

    loved this video. bigups and thank you very much

  • MrMeap6

    "Drawing in five minutes is just unreasonable…
    SIX minutes, six minutes is reasonable. "
    The man would add color and background if given 30 more seconds O.o

  • The Magic Pencil Case

    That’s so rad! I can’t breathe that’s so rad!

  • Oakmyst - Painting ,drawing ,music .

    if you love digital ,this guy is master ! Thanks for that !!!

  • Raymond Li

    Anthony, the killer. Nailed it every time, I mean in a short of time.

  • Ayesha MUnawar

    This video inspired me alot thanks man 🙂

  • Zimrian Zimrian


  • Normantime

    7:44 really hits home for me

  • NerdySpider

    I’m super proud of myself cause I’ve been drawing everyday for the last month for around 1 to 4 hours and I keep telling myself ‘ I love art I can do this I’m going to draw and get better’ and it works, the thing about motivation and being able to draw without motivation is really great cause drawing every day makes you that little bit more satisfied with it when you do have motivation, and deliberate practice and work feels great when you can look back and see how good you’ve gotten and how many pages you’ve used

  • agthaog1986

    this was cool and all and i totally get wit he's saying but if your doing that basic style of watercolor are i guess it would be alot easier too. none the less i agree art should be free flowing. thats probably the only true way 2 master your style. do it in a way thats more comfortable 4 u then work on it vigorously until its apart of you 100%

  • itzel6002

    I feel inspired now

  • Matt Anubis

    AJ is a freaking monster.

  • Joshua Osburn

    Right on, Anthony. Great advice and demonstration. Not only are you a talented artist who has put in the years of work and practice, you are a very good teacher. ‘Way to be’ with your clear descriptions, insight and advice to other artists! Realistic about your un/meta-realistic art!

    Thank you Proko for bringing intriguing and well-produced content, fueled certainly by your own artistic knowledge and acumen!

  • Melkor Morgoth

    This is great advice! I would also say that working with ink is a good ideam it makes you unafraid of making mistakes because they will happen. And when they do you just have to roll with it, thus making you a more confident artist.

  • Mario Jones Jones

    My son name Anthony

  • honk honk says:

    how to draw a kangaroo?

  • honk honk says:

    How about a full body drawing under 5 minutes? It looks like just the profile view to me.

  • Evolor

    lol what exactly did he do for Hasbro? Nothing from them looks remotely like Anthony Jones Concepts.

  • S Mad

    Awesome advice !!

  • T Black

    Does anyone draw with a pencil/pen anymore? Computers are fine but we shouldn't abandon drawing with pencils and pens.

  • Janbert Guerrero

    hes painting with just opacity right? not with blending?

  • trodat07

    Whenever you find yourself doodling for too long tell this to your brain: "Stop fooling around and get it done at once!". It'll work.

  • Max Noneed

    Do you guy use mouse to pain or art pad? Don't know if I just need practice with a mouse or its unreal ?

  • Anthony Bliss

    What is that time timer? Specifically? I'd like to get one like that.

  • Ethan S

    If you wait until you feel "inspired" to draw, then you may be uninspired for weeks, months and maybe even years at a time and end up going a long time without getting better. That's what happened to me.

  • Klaus D.

    As someone who has spent most of their doing traditional medium, when I went and started using PS I was so lost and confused. Even now I think the amount of features it has is completely useless. I also noticed that it took me much longer to do a painting in PS than traditionally because I was trying to understand all the features and it was until a year ago that I said screw it, these features aren’t needed. You don’t have a back button, you don’t have a copy paste, you don’t have layers, you don’t have any of that stuff traditionally and it never stopped artist form making masterpieces or doing their work quickly. I really do think they are useless. I don’t think it speeds you up at all. But, this is just my opinion and I know I will have digital art worshipers attacking me and more than likely saying I’m just “jealous” or “talentless”.

  • cowboxe

    I've been following robotpencil for years and I have heard he works really fast. Quality and quantity makes you a very valuable artist. Love his work.

  • corujariousa

    I am just an amateur who draws as a hobby since I can remember. Definitely the best work I've produced came from the ideas/suggestions you brought up. Being spontaneous and letting the art flow out of you and correcting later or along the way tends to produce better results for me than when I try to plan the outcome. Thanks!

  • Papaya

    This has to be my favorite tutorial video. So informative, so knowledgeable, and coming from someone with so much experience. Thank you for this, it really opened my eyes about what it takes to become a better artist- lack of confidence in my sketches has always been the defining factor in how long my drawings take and I find myself struggling to get the perfect shapes. I really appreciate your words of wisdom 🙏

  • David Yan

    your drawings are even better than some Chinese students

  • JeeNiNe Media

    Thx Anthony

  • roro roro

    Sketching with Roudaina

  • Christopher Weldy

    I can see where you have used the rule of 3 multiple times in the first sketch. 3 times to be exact.

  • John yaoi :3

    No enntiendo porque mierdas pone un titulo en español si ni subtitulos tiene.
    Se pasa de verga ese hijo de puta

  • Jake K

    how does he change colours and brush sizes so quickly?

  • Romain Dugeay

    what Anthony says is really interesting, powerful, inspiring, and useful for beginners like me, so thanks to both of you !

  • m4hs33r5

    Wow!! His thoughts are as fluid as his drawing. Top end stuff!

  • Dewantoroo A

    Did he just use one layer tho?

  • Kaden Maguglin

    Hey that intro scared the fucking shit out of me don’t pull that shit again Stan you fucker

  • Captain Howdy

    I've learned more from this channel in the past two weeks than I did at 6 years of art school. welp.

  • Pavel Sivi

    why is he using only black color? how to make it a different color?

  • 匿名希望


  • Mateo Martinicorena

    5:44 I will slap in Bob Ross for you if you want?

  • abhishek dhyani

    Pure Gold

  • Ricks Richars

    Los títulos me aparecen en español, pero el vídeo no esta subtitulado, al parecer alguien no esta haciendo su trabajo

  • Goat Surgeon

    I love creature design.
    I love things that work out my art muscle and gets me better

  • Basque Wasp

    Sorry, i do not see much quality in the work presented

  • TheIbdeathskull

    5:14 what happens when I try to paint in photoshop…

  • Pancakes Pancakes

    How can I get over procrastination and absolutely no motivation to draw? I find it very difficult

  • ArrestedSolid63

    Exactly how is he changing his brush color? is he just changing the opacity in a black round brush in one single layer?

  • Zs Sz

    This. Was. Awesome! More pls

  • Vibrant Stoic

    How to increase speed in drawing or painting?

    Listen to Eurobeat

  • Phillip

    I have a nerve/muscle problem for most of my life; it makes drawing traditionally very very hard, but digital tools allow me to draw in ways I never could otherwise.
    So there are SOME exceptions to traditional to digital transition.

  • Georgi Georgiev

    Please do not make videos with such titles. Employers come to youtube, checks the video and then they go: "Professionals make concepts for 5 minutes. It takes you 1-2 days to finish one. Make it for 5 minutes or you are fired". I am serious – you are not helping anybody with bragging how fast you can make some random creature head.

  • Ronhoward24

    Love this !!!

  • Caden

    Anyone know how he's changing brush size so fast?

  • roberto gurrola

    I can barely put what I imagine to paper let alone doing an entire redesign in 5 minutes


Leave a Reply

Your email address will not be published. Required fields are marked *