My name's Tony Cervone and I'm the director of the movie Scoop and I'm gonna teach you how to draw Scooby Doo.

Where in Scooby Doo is not an easy character to draw.

He's got a lot of different shapes, and he's pretty complicated.

So it takes a lot of practice and it takes a lot of time to draw him, right, Good point.

But let me take you through the way I do it, and then you could do it your own way.

Scooby Dooby do it.

The first thing I like to do when I'm drawing Scooby Doo is I like to start really simply and just kind of get the basic shapes down.

This is just kind of a basic shape of where Scooby's head could be and then this here kind of his neck.

So let's draw here like this is kind of his head.

This circles his head and it attaches to a neck and then let Zim agin his collar is gonna wind up being down here somewhere.

And then what does Scooby Doo have?

He has a really kind of big muzzle here, so I want to kind of get that kind of kind of drawn in.

So it's kind of like two circles.

This circles his head, and then this circles is muzzle where his noses and I like to like, draw this character.

This is called a three quarter perspective, which means his head is somewhere in between the front view and the profile view.

I got these basic shapes down, right?

So I kind of want to know where the front of everything is.

So where is the front of his head?

And then the front of his muzzle got kind of going down the front of his neck then.

So if we have the basic head and then maybe Scooby has kind of roundish eyes, so we kind of wanna put the two eyes in That's tomb or circles.

It has eyes, and then I like to know right away where his nose is.

So his nose is kind of big, and it's kind of shaped like a rounded triangle like that, right?

So think of it that way, draws nose in boring, got it.

And then I like to know where his eyebrows are and I'll tell you why.

Let's put his eyebrows in.

And the reason I like to know is because if you draw a circle around these eyes, the eyebrows kind of sit on top of the eyes, kind of following the curve of that circle on.

Then if you kind of came off it a little bit, you'll find kind of in here where the smile line is because this is really important.

This kind of relationship here is Faras, where the eyes and where the smile line is that triangle that's really gonna anchor the perspective of his features on his face.

E.

I know this sounds kind of complicated, but just do it your own way and practice now, Scooby on his smile line, There's actually two shapes shape that kind of comes down like this and then another smaller shape that connects to it right and then kind of figure out where his smiles smiles.

Pretty simple, right?

Just a kind of a curved line on.

Then Scooby's got a big bottom lip.

You wanna get that in there and then he's got a chin.

Scooby's chin is kind of soft.

You wanna kind of put that chin into bottom somehow and drop the tongue in there.

So now look what happened?

E got this far, and I don't really like where his neck is, so I kinda wanna push it around a little bit.

You gotta play around with it and feel it out a little bit.

That's all right.

Sometimes you go down the road and you're not so happy where a line is, but that's okay.

You're gonna move it and then you're gonna draw like his ears, kind of pop one on this side, one on this side, and then they kind of connect, you know, kind of in here somewhere.

So that's kind of looking pretty close to Scooby Doo.

And then let's take advantage of what the tablet could do, because what I like to do is I get these basic things down on then.

I like to take this.

What?

I will call the construction layer and drop it down in opacity.

What that means is, make it so you could almost barely see it, right.

So now you have something underneath which we call it under drawing that you're able to kind of do a more refined drawing on top of, and this is something we do in animation all the time.

so I'm trying this on a tablet.

But if you don't have a tablet and you're just trying on a piece of paper, I'll do this under drawing really, really lightly with a different color pencil and then come in over it with the black line.

So now that we have this, let me show you how we do kind of a more finished drawing.

I like to start with the eyes because the eyes are the window to the soul.

So I want to know where his eyes are and it's okay to erase, and it's okay to change things.

I think it's kind of start to see his eyes.

Now.

I kind of start to see Scooby, and I know where he's at now.

One thing that I'm gonna change a little bit already is there is something called a symmetry.

And what that means is things are a little more interesting when they're skewed a little bit.

And when the proportions are off a little bit.

Sometimes we're always trying to draw things in perfect proportions, but really, it's the imperfections that provide characters.

And Scooby Doo was designed by a guy named Iwao Takamoto.

He designed all the Scooby characters.

And when he designed Scooby Doo, he went and got himself a book that described what a champion Great Dane looks like.

And then he went and he broke all those rules when he made Scooby Doo because he wanted Scooby Doo to be charming and appealing, but not perfect.

Scooby Doo is not a perfect dog.

He's got a lot of imperfections, and we like Scooby because of his imperfections.

See how the eyebrows don't do this right?

Because that's boring.

You wanna make them a little asymmetrical?

A little in perfect.

One of Scooby's imperfections to is that he has on the bridge of his nose.

He has a bump, right, a champion, Great day, and they have very straight lines.

But Scooby doesn't have straight lines.

Scooby Doo has a big bump on the top of his nose, and his nose is really big.

And so let's rough his nose in a little bit more.

Maybe a race a little bit.

See, if you don't go, it's OK to race.

I like a racing right big nose.

You almost can't try to Big finished out.

Yes, and then there's his mouth.

He's got this big kind of floppy pizza skin there.

Scooby's got a soft face, and that's important.

So you want to show That's kind of heavy.

That weight is dragging down, right?

You could feel the weight, the gravity pull those shapes down.

And when we were animating Scooby Doo in Scoob, we were really able to take those fleshy parts of this face and really animate him.

So when you watch the movie, pay attention to how soft his jowls are when he shakes his head, you see his his skin go way were able to actually put a little bit more dog in the Scooby Doo than is normally there.

In fact, before we started animating Scooby Doo, we brought Riel great Danes in and we videotape them and we went, Hey, what are the parts on great Danes that shake and how does a really great Dane walk?

And now Scooby is an animated like a really great day, and he's a cartoon Great Dane, but you got to know the rules before you break him.

You want to get that bottom lip, drop the tongue in there.

See, now I don't like where I put that tongue So I'm going to get rid of it, and I'm gonna do it again.

That shows a little more dimension and depth.

You push that tongue back inside his mouth, and I was talking before about soft parts of Scooby Doo.

And one important soft part is this shit.

It's got a lot of jiggle to it.

It's not a big, strong, heroic chin.

He's got a soft chin because he's a soft guy.

What does he know?

So now we're gonna go in and put the back of its head in.

Does this make my ears look big?

Scooby Doo's ears air really important show a lot of his character.

When Scooby is scared, his ears come down.

He's really alert.

His ears could kind of come up.

So we use things even like his ears, to kind of help show Scooby's emotion.

And another thing about Scooby, his ears or asymmetrical.

So let's start with this year first and maybe this years doing that.

Scooby's ears aren't straight and perfect like, you know, they're all kind of floppy and and weird, and they make weird kind of fold in on each other in funny ways.

So if this year is gonna do that this year might do something completely different, right?

So there you go.

That's starting to be Scooby Doo.

That's feeling pretty good.

I'm all right with that.

Let's draw his collar in because his collar is really important.

And that's just neck kind of sits.

One thing about his neck is, um, I'm gonna race this and show you something else.

I might overdraw it over, exaggerated a little bit, but Scooby's kind of got a barrel shaped neck, his next not straight.

It's not too straight lines because that's two parallel and that's boring.

And also it doesn't taper perfectly, either.

Like this, right?

Scooby's neck is actually like this a little bit.

It's kinda got like a a neck like a sausage.

And then there's this tag and what's it got in there?

It's got A S and D that's also really important my best.

But the thing I try last when I'm drawing Scooby Doo is he's got three moles on the side of his chance.

They're kind of shaped like a triangle, and they go right there and then Scooby has two hairs that come off his chin, but they're the last things.

I like to add a Scooby Doo, and I always think that he kind of comes alive just by adding those things you could color his nose in.

If you want to do that because he's got a big black nose color inside of his mouth in if you want, give that a little more depth.

There you go.

That's kind of how I draw Scooby Doo and I encourage you to draw Scooby Doo your way and have fun with it.

And don't be afraid to make mistakes.

And don't be afraid to erase and share it.

In fact, I hope I see your drawings one day.

Thanks a lot and have fun drying, yes.