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The Sketch Workshop is a complete sketching solution for beginners and hobbyists alike. It is an innovative and fun way for people of all ages
to find the inspiration to pick up a pencil – and draw! We’ve created a number of guides that cover popular topics such as anatomy, characters,
creatures, cityscapes, and robots and spaceships, all loaded into ready-to-go sketch workbooks.

To complete your Sketch Workshop collection, be sure to check out all five workbooks in this series.

Visit www.3dtotal.com/shop for more information

3dtotal Publishing
Correspondence: publishing@3dtotal.com
Website: www.3dtotalpublishing.com
Sketch Workshop: Creatures © 2014, 3dtotal Publishing. All rights
reserved. No part of this book can be reproduced in any form or by any
means, without the prior written consent of the publisher. All artwork,
unless stated otherwise, is copyright of 3dtotal Publishing. Any artwork
that is not copyright of 3dtotal Publishing is marked accordingly.
First published in the United Kingdom, 2014, by 3dtotal Publishing.
3dtotal.com Ltd, 29 Foregate Street, Worcester WR1 1DS, United Kingdom.
Soft cover ISBN: 978-1909414174
Printing and binding: Everbest Printing (China)
www.everbest.com
Visit www.3dtotalpublishing.com for a complete list of available book titles.

Every effort has been made to ensure the credits and contact information Deputy editor: Jess Serjent-Tipping
are present and correct. In the case of any errors that have occurred, Managing editor: Lynette Clee
the publisher respectfully directs readers to www.3dtotalpublishing.com for Designers: Aryan Pishneshin, Imogen Williams
any updated information and/or corrections. Proofreader: Adam J. Smith
 Grab a copy at
shop.3dtotal.com
 The Tutor

Draw a powerful creature

Learn to sketch a dynamic, muscular monster in
an action pose
Jeff Miracola
Freelance Illustrator
www.jeffmiracola.com

A fantastical creature can take any form you

like, but feel free to borrow from real-life
animals, too. This monstrosity has touches of
gorilla, lion, bull and dog. This guy’s wide
shoulders and strong
upper body propel him
forward as he possibly
chases down prey.
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Expressions aren’t limited

to your creature’s face. This
behemoth’s entire figure, from
his hands to his tail and feet,
are used to express motion.

The way you light your subject

will be crucial to the feeling
you are trying to convey.
Strong overhead lighting
produces dark shadows,
giving weight to muscles.

If you want your monster to express
its power, there’s no better way to do
it than to put that creature in motion.
If you’ve ever seen a horse or lion
run, then you’ve likely noticed their
massive muscles dancing just under
the surface of the skin. This energy is
what you’ll capture with this lesson.
Throughout this workshop, we
will focus on the attributes and
expressiveness that give your monster
the powerful presence it deserves.
We’ll pay close attention to shading
to define muscle groups and create
unique designs that give your creature
personality.

CREATURES
 All of the eyes and noses on this page are drawn to the same
scale (and from the same angle) as the main reference
image shown here. The templates on the page below use
the same scale, to allow you to pick and choose from these
references when designing your own variations.

Eyes that are entirely black can

instantly make your monster look
more sinister and scary, evoking
a sense of doom for whoever or
whatever catches its gaze.

Look to the animal kingdom

for inspiration when
building your monster’s look
and characteristics.

Certain nose designs will imply the

characteristics of your creature.
A pig’s snout is sure to conjure
images of a wild boar – a deadly
creature to cross paths with.

Changing the direction of your light

source can display different effects or
Get creative with your monster’s anatomy. emotions. For example, moving the light
Odd nose designs can add interest and source below your creature can project
give your creature an otherworldly feel. a sense of mystery.

CREATURES
 Using the templates on this page and the references above, draw the eyes and noses on these monster heads.

Experiment by drawing noses of all shapes and sizes to Once you’ve had your fun with the eyes and noses,
see how the character of your monster changes. Do the we’ll move towards the top of the head to tackle
same with the eyes. drawing horns in our next exercise…

CREATURES
 All of the horns on this page are drawn to the same scale
(and from the same angle) as the main reference image
shown here. The templates on the page below use the
same scale, to allow you to pick and choose from these
references when designing your own variations.

Broken or scarred horns can show

aging or that your monster has seen
plenty of battles.

Drawing patterns on the horns

of your creature will add to your
monster’s mystique.

Curled horns,
like those of a
ram, can give
your monster a
sense of age or
wisdom.

Horns can be pointed in many directions,

such as upwards or forward.

CREATURES
 Using the templates here and the references above, design your own unique horns by following the outlines provided.

Add interest to your horns by giving them As strong as horns are, our beast has even more
battle damage, such as cracks, scrapes and powerful biceps. We wrap our arms around drawing
breaks. You can also give form to your horns them in the next exercise. He’ll also need a strong tail to
by sketching contour lines across the shapes. balance him out, so we will sketch that next…

CREATURES
 The arms and tails on this page are drawn to the same scale
(and from the same angle) as the main reference image shown
here. The templates on the page below also use the same scale,
to allow you to pick and choose from these references when
designing your own variations.

Don’t get caught up

in details at first. Try
to focus on the large
muscle groups, such
as the deltoids, biceps
and forearms.

Pay close attention

to your shadows
because they will
define the shapes of
your muscles.
Knowing how and where
the arm connects to
your monster’s body will
help you understand
proportions.

There’s no need to overdo it. For

tails, simple ones like that of a
Try to imagine the rat, bull, or cheetah can be fun
inner structure of your and appropriate.
monster’s tail. This Make your creature look
will help you craft a less human by adding
more feasible design. fins or other protruding
elements from the arm.

CREATURES
 Try using your 8B
pencil to define the
muscles, but don’t
press too hard – it’s
a soft pencil so it
only needs a light
touch.

Using the templates on this page and the references above, sketch arms (above) and tails (below). Once you’ve
grasped how the muscles work, try embellishing your appendages with extra details, and practice your shading.

Try pushing the limits by creating a tail that is Don’t fear, we haven’t yet come to the end of our
magical with mystical energy or flames. ‘tail’. It’s time to take the skills you’ve learned to
draw the creature you’ve been waiting for…

CREATURES
 Using the template on the page below and this image as a reference, you can now draw a
charging creature. Don’t forget to add your favorite elements from the earlier exercises to add
personality and flare to your creature design.

Practicing shading can be fun and

relaxing. If you’re feeling brave, try to
shade your character using a different
light source.

download extra templates from

3dtotalpublishing.com/resources
You’ve now completed the creation of a baddy
of colossal proportions, but it’s time to push it
even further. Below you’ll find a stripped-back
template for you to use.

Don’t be intimidated. Charge ahead and tackle

the challenge head on. Use your creativity and
the skills you’ve learned to create a monster
of your own. Lightly draw simple shapes, such
as circles, triangles, or squares, to aid in the
design of your monster’s anatomy. Remember
your light source so you can accurately draw
shadows and highlights. And express your
creation’s character through its face and its
body movement.
 The Tutor

Design a swamp creature

Learn how to use amphibian characteristics to create a
swamp-dwelling being
Abigail Larson
Freelance Illustrator
www.abigaillarson.com

Bulbous, protruding eyes

to see in the dark and
under water.

He’s slumped over, weak, and

wrinkled to show advanced age
and malnutrition.

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Large, paddle-like feet

are good for moving
through water.

Webbed, short, flat

fingers enhance his
amphibious nature.

There’s really no wrong way to design
a creature, but something to always
keep in mind when drawing any new
being, is its terrain. Think about where
the creature lives, and what kind of
characteristics those creatures would
have, naturally. For a swamp creature,
for example, I looked at amphibians
for inspiration, as well as other cave
and water-dwelling creatures.
In this workshop I’m going to show
you how to take various biological
features and turn them into a more
fantastical creature – one that’s fit for
the finest of all swamps.

CREATURES
 All of the features on this page are drawn to the same scale as the
main reference image shown here. The templates on the page below
use the same scale, to allow you to pick and choose from these
references when designing your own variations. Think about how the
muscles in the face push the skin around the eyes to show emotion.
You can also see how different mouth shapes and designs can change
the personality of your creatures.

Adding a larger lower eyelid

helps to portray a happier
expression. A protruding lower
lip also gives him a somewhat
dopey appearance.

Lowering the top eyelid

creates an angular
form which makes
the character seem
more aggressive or
angry. A sharp jawline
can exaggerate an
aggravated look even
further still.

Soft, drooped eyelids help to

create a sense of sadness. A
dropped lower lip extends the
feeling of sadness.

By changing the angle of the head,

you can suggest different expressions
and moods. This tilted head looks
inquisitive. Portraying the mouth
slightly open implies alertness and
expected conversation.

CREATURES
 Using these templates and the references above play with the expressions for your creature. Try
out different combinations. You can also experiment with detailing the ears below.

Tilting the eyebrows or pushing the eyelids

up will drastically alter your creature’s
expression, as will changing the opening of Once you’ve had your fun with the creature’s
the mouth. expressions, we’ll move on to the character’s pose
and volume…

CREATURES
 All of the references on this page are drawn to the
same scale as the main reference image shown
here. The templates on the page below allow you
to experiment with poses and volumes.

Once you have the

placement of the
head, draw the curve An elongated curve stretches
of the spine. Drawing the body out, which is good
this curve in different for standing positions.
locations will change
the movement/pose.

A compressed
curve will create a
crouched position.

You can also change

your creature’s
physique by adding
bulk or removing
it. You can do this
by starting with a
basic framework
(think about where
the joints are) and
building more
shapes on top.

CREATURES
Use the templates
on this page and
the references
above to practice
posing your
creature.

Experiment with the volume of your creature to see

how it changes his character, then play with the Now let’s put what you’ve learnt together to create
placement of his limbs to change the pose. a creature packed with character…

CREATURES
Using the template on the page below and this image as a reference, you can now draw your very own expressive
character. Feel free to embellish him with your favorite details from the exercises.

download extra templates from

3dtotalpublishing.com/resources

CREATURES
CREATURES
 Now you can have a go at using this simplified
template, which will allow you to build up your
own creature, choosing the pose and expression.

Use simple shapes and curves to determine the

position of your creature and build up the shapes
on top to determine the proportions. Stick arms
with their joints portrayed are a good starting
point. Draw over them loosely and lightly for
easier erasing while you plan where you want
them to go.

CREATURES
CREATURES
 The Tutor

Sketch a believable alien creature

Explore and learn how to design an extraterrestrial
being using plausible real-world anatomy
Mike Corriero
Concept Artist/Illustrator
www.mikecorriero.com

An important aspect to any design, even those

A believable creature should still abide by the laws of
nature. It’s what we can relate to that makes a design
successful. The overall anatomy has mammalian, insect
and crustacean trace elements.
that are on the verge of extreme abstraction, is
the plausible functionality of its anatomy. This is
why referencing real-world animals is essential.

It’s important that the creature does

not reflect any one animal’s anatomy
too clearly. You want to try and blend
all of these traits in a seamless manner. Note that skin textures and patterns are
This is what makes it truly unique. not uniform. The break up in scale and
spacing provides a more aesthetically DOWNLOAD
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pleasing appearance. It feels like it’s a living,
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One of the best ways to draw
something that doesn’t exist is to
understand the functionality of what
does exist. I’ll therefore be explaining
how drawing creatures is merely the
act of blending and manipulating
real-world animals. Examples of this
sort of manipulation of anatomy will
help you understand how creature
design is like building a structure or
engineering a vehicle.
Once you’ve learnt the basic design of
most animals, it becomes surprisingly
easy – and fun – to draw your own
creations quickly and successfully.
Looking back at real-world animals
and applying this knowledge to your
alien creatures is how we’ll begin to
create a plausible-yet-fictional design
in this workshop.

CREATURES
 Eyes are a powerful tool in design; they set the overall impression and represent
a great many things to be understood. Complex eyes portray expression and
personality, while simplistic eyes appear more alien or horrifying. This is why
many creatures with glazed-over pupils or a lack of eyes seem worrying.

The angle in which the eye is positioned is

yet another element that can be changed
and manipulated. Such deviations from
what we know in reality are very effective.

Most real-world eyes are circular

or oval in nature. This example of a
more triangular shape, of not only
the pupil but the entire eyeball, sets
it apart from anything Earth-based.

The pupil and iris are not the only aspects

that can affect the eye’s appearance.
Decorative eyebrows, patterns of light
and dark values and other features help
instil subtle originality.

Decorative details within the iris

and the obstruction of a common
round pupil are simple solutions
to distinguish the taxonomic
understanding of the creature.

As well as playing with the

designs of eyes, experimenting
with different quantities can As seen in the main reference, these are simple compound
give some surprising and eyes. Multiple pairs on a body much different than an
unique results, too. arachnid can achieve something profoundly compelling.

CREATURES
 Vertebrate creatures have an eye socket in their skull. The size and location of the eye is
based on where it’s located. The pupil and iris can provide a lot of personality.

Use the templates on this page and the references above to try out some different eye designs for your creature. Think about how
the eyes of different animals change from one family to the next. The same principle is used in creature design.

Arthropods have compound eyes which can be placed in more Now that we’ve conquered the eyes, we’ll
extravagant locations. Eyes are placed for different visual awareness. learn how to design different mouths and
Try coming up with your own unique eye design and placement. jaws to give our creature a variety of looks…

CREATURES
 The head and mouth of a creature lets us know where the animal
might fit within a fictional taxonomic rank based on what it may eat. So
learning how to draw different mouths and what their functions are is
one way to establish a base for what sort of creature it will become.

Tying some anatomical design elements into your

original creation will help the creature relate to the
viewer. This design exhibits a star-nosed, mole-like
muzzle. It’s both aesthetic and functional.

An underbite with a large lower jaw can present a

powerful and intimidating appearance. Whether you add
teeth or not depends entirely on the creature’s diet.

Manipulating animal anatomy can apply to the skin texture,

eyes, mouth and so on. Give a bird a chitinous coating and
immediately it looks like nothing we’ve ever seen before.

Mixing various
families of animals
is a great way to
Tentacles are always going to scream create something
‘alien’. If it has elements of a Cephalopod unique. If you take
and it’s a terrestrial creature, it’ll always mammal and
look otherworldly. They could shoot out insect anatomy
of the mouth like a grappling tongue. and mesh them
together you can
come up with some
interesting mouths.

CREATURES
When rendering, your line strokes should follow in the direction of the planes that
the form is broken up into. Don’t just shade in one direction.

Using these head templates and the references above, try to come up with your own unique, interesting and functional
mouths to give your creature different looks.

Now that we’ve conquered the eyes, mouth and jaw

structures of the head, we’ll learn about designing limbs and
their importance in animal functions…

CREATURES
 We already know that a seamless mix of anatomy is what makes
a design plausible. Now we’re going to learn about aesthetics and
functionality. This image shows arms and legs that don’t deviate
too far from reality while still manipulating what already exists.

Certain aspects of what makes a hand

When you take two things you can relate a hand lay within the basic idea that it
to and mix them together, you create a contains individual digits. If you fuse the
balanced compound. The manipulation digits and claws together, it becomes
of anatomy is a science after all. This both frightening and exotic.
appendage shows strength and dexterity.

To produce an original arm structure,

simply take the leg of an animal and
manipulate the joints and bones so they
can work as a hand. This is reminiscent
of a Koala, for example.

The heel of a foot in certain animal species

appears more elongated than in humans.
This is when an animal walks on its toes
rather than the sole or heel of the foot.

A varying difference in the sizes and

types of claws and toes provide the
creature with different skill sets.
Some are used for tearing, some for
grasping and others for digging.

CREATURES
 Practice drawing
hands and wrists using
these templates.

Try filling the gaps below to create your own leg designs. Use the circles for joints, but feel free to explore outside the boxes, too.

Think of your own arms and legs and how they bend and rotate at the shoulder, knee, elbow, ankle and wrists. This
is the basis of functional movement. Apply this understanding to your design and practice, practice, practice.

The numbers of fingers and toes or the types of digits also provide a form of identification in the taxonomic
ranks. Play around with different claws, hooves, suction cups and so on.

The last important part of creature design is to grasp the

overall design of the body structure. We’ll cover shape,
silhouette and general proportions…

CREATURES
Use the template below to better understand where joints are located and how forms are simplified. Look at it like
an X-ray of a drawing.

Use this main image as a source

of reference for cast shadows and
how shadow wraps around the
shade of the head and jaw. A light
source helps define where the
darkest shadows would appear.

On your final drawing,

experiment with
different ways to shade
your creature, such as
cross-hatching and
erasing white areas to
show highlights

download extra templates from

3dtotalpublishing.com/resources
 Once you’ve mastered the idea that biology is
basically the same as engineering a car, you can
design your own creatures by producing your
own templates. Large circles work better for the
dominant body parts. Lines and small circles
can help indicate where limbs and joints such as
knees or elbows will bend.

Play around with the placement of your circles,

figuring out where the head will go and how
many legs and arms it will have. The creature’s
proportions are based on the size of the simple
circles – and that’s it. Above all else, have fun.

Monsters, mutants and dinos
Draw fearsome creatures and cranky mutants
You will notice that the entire image is comprised of ‘bubbles’. I draw
everything in circular volumes. These bubbles build form and even provide
detail lines when left in the drawing.
Shadows create depth
and round-out your
drawings. Drawing lines
around your bubbles –
like hemispheres – will
help you define these
shadow shapes. Keep
your light source in mind.
In this workshop, I will share with you
the techniques I use when drawing
monsters, aliens and many other
fearsome creatures. The process is not
unlike those of other artists, but I will
The Tutor
Kurt Papstein
Character/Concept Artist
ikameka.blogspot.com
Teeth and spikes are also made up
of tiny bubbles. Imagine the bubble
landing on a surface; it has a flat side
where there is contact – this creates
perspective and weight.
When drawing, think about the
motion of the character. Typically
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the head leads the motion and
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dictates direction, with neck lines
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also present to you some of the things in my head while I work. So for this
that I think about while drawing. workshop, I have chosen dinosaurs
While I don’t necessarily employ these as the prime focus, keeping it simple
steps or techniques all of the time, with bust drawings to build up a
they are constantly bouncing around foundation of skills.
CREATURES
 All forms begin with a circle, even if I don’t stick to the
circle’s shape or area exactly. It creates a footing, or
a plot on the page for me to start. You can then draw
through the spheres to see the drawing from all sides,
placing hemisphere lines to indicate form.

Sculpt the forms and build perspective with ‘feeling lines’

– rough gestural lines that follow the topology of the head
and neck. These will provide detail and anatomy when
selectively erased.

When starting, you

can begin with a loose
silhouette shape or
place large spheres
together to block in
volume. Combine
these methods to find
your design.

Curves are countered with

straights, and soft is met
with hard. Contrasting
forms are important for
visual interest.

Remember to think of your lines as cross-

sections when drawing through the other
side of the spheres. These lines will be
crucial for keeping the perspective true.
CREATURES
 Add to the
basic shape by
building out with
giant spheres
for the corner
of the jaw and
the nose. These
are the biggest
Use the references above to build your own head volumes within and beyond the landmarks.
guidelines provided.

It’s important to plot in corners. The

corner of the mouth, nostrils, jaw bone, By the end of this exercise, you should have a small stack of
eyebrows, and so on, act as visual guides head shapes filled in. Each one should have obvious large
for the other side of the head. features and roundness.

CREATURES
 The mouth can be a very expressive element to your design.
It can show intelligence, emotion and even hint at how the
creature lives. Imagine the volume of the mouth is like a
puppet mouth; two simple planes that divide the head into a
wedge shape. This is a good way to get started.

The first line placed on the

head indicates the mouth’s
design, and how it divides the
head into interesting shapes.

A sharply drawn and angular corner to the

mouth indicates it can open wide, making
it very dangerous.

Teeth are placed with bubbles

and spheres. Later refine them
into spiked, flat or chipped
CREATURES teeth.
Use these templates to create interesting teeth patterns on the mouth lines provided. Closed mouths are easier to design,
so try some variations while you sketch.

You can now create some open-mouth designs below. Remember that the mouth is a wedge cutting into the shapes.

Now you should be more comfortable drawing

head shapes and giving them a mouth full of teeth.
Next we’ll look at the dino’s eyes…

CREATURES
 For the most part, I feel eyes are the easiest. All things have derived
from a sphere and the eye is no different. The size can vary greatly;
experiment with different positions to balance your design.
Remember that all forms wrap around the sphere of the eye.

Drawing lines around the eye provide wrinkles

and lid deformation. They also act as topology
lines for the socket, adding early details.

Finish the eye with a nice

round highlight that overlaps
the pupil and iris. This gives
us a sense of the material.

The tear duct is the first thing

to be added after the eye
sphere. This gives us an idea
of how the lid closes and the
direction of focus.

To convey intelligence,
imagine the pupils are
focusing on a target
without crossing their
line of sight.
The brow and cheekbone shapes
can help frame the eye and create
flow and focus to the design.

CREATURES
Reference the above images to build out your own eye designs over the templates and head designs.

You can find a huge range of

different characters in the same
head shape by just changing the
eyes and brow shapes.

All of the foundational elements are now present

with the head, eyes and mouth. Now it’s time for the
details and finishing work…

CREATURES
 Finalizing our drawings is a simple task, now that we have practiced
all the elements. In this exercise we will render cast shadows, wrinkles,
and put the final touches on our line art.

Wrinkles and creases act

as connecting lines to put
emphasis on motion and form.

Drawing a contour line for

cast shadows will round
the form out and create
striking surface planes.

Don’t over do it
with details; keep
them limited to a
few regions like the
edge of shadows, the
silhouette, or selected
patches. Maintain
visual interest.

CREATURES
Draw your own dino-spheres of spikes and wrinkles, then practice with light and shadows.
Vary the amount of spikes and shapes, as well as the wrinkles.

Now take what you’ve learned to shade and texture the

line-art. Fill the heads with wrinkles, spikes, and finally
add your shadows and line weight.

You now have all the tools necessary to build and finish your own
creature head designs. Think of each part as a dino-sphere that
adds to the entire piece. Dino-spheres are our friends!

CREATURES
 With the provided shapes, use the skills and lessons in this workshop to develop your own pack of creatures. The
exterior shapes are provided, so start by filling them in with volume and take them through to final details and shading.

download extra templates from

3dtotalpublishing.com/resources
 I hope by now you have a stronger grasp on
how I go about quickly throwing down a page
of monster faces. You can do the same in your
sketchbook by drawing a loose template, filling
the page with circles and gradually hitting each
step of this workshop until you’ve finished the
entire image. Remember the dino-spheres!

The template on the page below is stripped

right back so you can use your own imagination
to build a pack of creatures.
 buy
now!

Join thirty fearless artists as they explore and develop concepts for a treasure
trove of fascinating mythical beasts. Journey around the globe and unearth the
secrets of fantasy favorites and more provincial mysteries, including the legend-
ary unicorn, the elusive yeti, the Slavic leshy, and the Japanese nue, to name just
a few! Each creature has its own chapter that covers an overview of its history,
how to detail main elements, such as fur and horns, and the thought process
behind the artist’s design.

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