I Tried To Draw Like Rinotuna! [Rinotuna's Drawing Process Analysis]

The creator expresses admiration for Rinotuna’s art, specifically the anatomy and coloring, and states their goal to learn and apply Rinotuna's techniques. The video will be split into two main sections: an observation of Rinotuna's drawing process and the creator's attempt to create an original character using that knowledge, followed by a recap of what went well and what could be improved.

This initial step involves creating a blueprint for the artwork. Rinotuna emphasizes the importance of using references for color palettes, shapes, and unique features. He uses a mind map to decide the character's direction. The creator attempts to replicate this mind map and then creates several sketches before settling on a pose for the final piece.

Rinotuna starts with a fine sketch using a pencil-like brush on layer 1, then refines the line art on the same layer using a darker pencil brush, leaving some parts with the initial gray lines. The creator admits to making a mistake by overlaying all lines with the darker pencil.

A new layer (layer 2) is created for local colors. The character is selected from layer 1, and the selected area is filled with a gray color. Rinotuna then applies local colors by manually drawing outlines and filling the selected areas. The creator neglected to draw outlines, which had consequences later on.

This step focuses on identifying light and shadow areas. Layer 2 is copied to layer 3 and clipped, then turned to grayscale to help determine values without color distraction. A new layer (layer 4) is created for shadow blocking, where Rinotuna uses a 100% opacity brush to draw and fill shadow outlines.

Layer 4 is copied to layer 5 for smoother shadows. Rinotuna uses a brush with pressure-sensitive opacity (transparent watercolor brush in Clip Studio Paint). The creator made a mistake by manually changing color for brighter shadows instead of using the appropriate brush. Rinotuna also changes brushes based on object characteristics (e.g., airbrush for round objects). Layer 6 is added for spraying black shadows in areas with no light.

This step involves adding saturation to the black shadows. Rinotuna performs this by magically tapping on color swatches to change the shadow color in layer 5. The creator achieves this manually through temporary layers and blend modes. Then, layer 5's blend mode is set to multiply. Rinotuna uses layer 2 (color layer) for selection when adjusting Hue, Saturation, and Lightness (HSL) of specific color areas in layer 5, a step the creator did incorrectly by using the line layer for selection.

In step 6, layer 7 is created. Rinotuna selects light areas from layer 5 not covered by shadow, paints them white in layer 7, and changes layer 7's blend mode to soft light. The creator struggles to replicate Rinotuna's selection method and does it manually. In step 7, Rinotuna adds a gray circle in the background for color fine-tuning. He uses layer 2 to select skin and applies a tone curve layer adjustment to layer 5 for skin and body tone. He also changes layer 1 (line art) to brown and sets its blend mode to linear burn, adding another tone curve correction to layer 1. All layers are then combined into layer 8 after backing them up.

Step 8 treats the illustration as a single-layer painting (layer 8). Rinotuna adds reflections with soft brushes, refines hair (adding hair lines, pushing/pulling shadows), and constantly changes colors using color pickers. The creator admits to struggling due to lack of knowledge in color, shape, and texture. Step 9 involves adding fine details like motifs, patterns, or logos. A new layer (layer 10) is created for the logo, then selected, and a copy of layer 8 (layer 11) is made within the selection to adjust the logo's color.

In step 10, layer 12 is created for highlights. Rinotuna boldly adds white to reflective surfaces and smears edges. He also adds brighter reflective colors to layer 8. A new layer (layer 13) is used for hair highlights. In step 11, layer 14 is created, where Rinotuna sprays white paint on bright parts and black on bottom parts, then sets its blend mode to overlay and reduces its fill/opacity. Finally, layer 15 is added for reflective white light in the iris. The creator decides to stop here as further adjustments yield minor differences.

The creator reflects on the process. Positive aspects include sufficient anatomy knowledge, making the ideation and line art enjoyable, and achieving an interesting pose. Areas for improvement include not outlining local colors before filling (leading to incomplete color coverage), incorrectly selecting the line layer for shadow adjustments (instead of the color layer), lacking knowledge for detailed painting, and zooming in too frequently during the process, leading to focus on useless details.