(slow techno music)
- Hi, this is Alan Wan, supervising producer on
Rise of the Teenage Mutant Ninja Turtles.
- Oh yeah!
- Today we're gonna draw Leo.
(powerful music)
- [Leonardo] Got it!
- So I am gonna start off with a base drawing
of Leo doing a jump kick.
In our show we do a lot of what we call foreshortening,
where we push the perspective of an arm
and a leg toward the camera.
So for now we're gonna have Leo kick at the camera.
So once I have something that
I'm comfortable with, I'm gonna
go into clean-up.
Once I have an under drawing,
I'm gonna go into cleaning up.
So with foreshortening, the whole idea is
like what we talked about before with Raph.
We're gonna have a vanishing point that we're working with
and everything is gonna come out through
this vanishing point and the whole idea is going from...
So the objects that are closer to the camera
will turn out bigger and the rest of the body
because it's away from the camera,
it's gonna be smaller.
So once we have that as a guide,
we're gonna lower the capacity.
We're gonna work on the clean-up on Leo.
So Leo, like Raph, also has a point on his head.
So we draw a point
and Leo, in this version of the Turtles,
is always less serious so we really want to put that
in his expression.
So we're gonna draw the shell.
The turtle shell, even though it's hard,
but we still want to be able to move it a little bit.
So we're able to turn his body a little
so it's not completely rigid.
We draw these straps on his body
Leo is the only turtle that has a little pouch
on the side and we want to make sure this pouch
looks dimensional so make sure we draw the sides.
So since this is an action pose, you want the arms
and legs a little bit coordinated and I think having the arm
pulled back like this
will actually make that pose overall a lot more dynamic.
Some of this is actually stemming from looking at
actual martial arts,
how jump kicks are done.
Now we're gonna put his other hand closer to his face.
So since the leg is now pushing very close to the camera
so I'm gonna start off with the thigh
and the knee
and as we get closer to the camera,
everything on the leg is gonna become bigger.
And then because this other leg is further away from camera,
it's gonna be smaller.
We can drop a little bit of shadow to create more dimension
on the bottom part of the figure.
And then bandana because he's moving in a forward motion,
we also want to create a floating look on his bandana.
So once we have this general pose that we like,
we can use that vanishing point that we put earlier
to create some speed lines.
Again, the speed line is
created using a vanishing point
and all the lines will recede toward the vanishing point.
And then there you have it.
That's how you draw Leonardo.
(laughs)