How to Draw Your Favorite Zootopia Characters | Disney Quick Draw | Disney

How to Draw Your Favorite Zootopia Characters | Disney Quick Draw | Disney

Hey, hi! What’s up? It’s Byron Howard, one of the directors
here at Disney Animation. I was one of the directors
on Zootopia and Tangled and we are live on Facebook. Yup, it’s live, folks, here in the
Disney Animation Drawing Studio. This is where all the magic happens. Well not all of it, but some of it. Some great stuff. This is where you come to do
drawing lessons and painting lessons. Where people pose in costumes
and not-costumes, that’s a new one. And we draw and we
learn how to do new things. So today we’re going to
teach you how to draw Nick Wilde and Judy Hopps
from the movie, Zootopia, which, thank you guys very much
for supporting. And you know, I watched Chris Buck’s
segment a couple weeks ago. He did Frozen. I don’t know if you
heard about that movie? It was a little movie.
It did pretty well. And he taught you how to draw Olaf
and he taught you about– He was an animator like me
back in the day, 2D animator. But one thing he didn’t
talk about was thumb-nailing. So I’m going to talk to you
a little bit about thumbnails. And so if you look at the camera. Let’s bring the camera down here,
shall we? Look at this in front of me. Okay I have to put
my glasses on. See my glasses? Okay so I can see. So thumb-nailing is a way that animators
and most artists will work small, to try to figure out
what they’re going to do, before they put a lot of work into
the big piece of art that they’re doing. So you can see here,
I worked up a couple poses for Nick and they’re very, very loose. I’m not trying to be
fancy about anything. Like, I got Nick sort of leaning here. And I’ve got his like, leg up there. Here I kind of have Nick
with his arm extended up here. And so what I’ll do is,
I’ll just knock out these poses real quick. Just to kind of try different things
to see what I’m liking, without too much detail. You know, I can figure out
on these little drawings, where we’re going to put the feet. How the tail is going to go. Like, down here, you can see Nick
sort of like leaning over and pointing. And you’ll notice that Nick,
like a lot of characters in Zootopia, is an animal. They’re all animals,
as a matter of fact, but they were bipedal animals,
which means they walk on two feet. So we had to figure out
very early on, how to make Nick and Judy
look natural when they’re standing up. So one of the things we tried to do is, to find these rhythms in Nick’s body, like this on the chest,
and on the back, and on the leg, that all kind of flow into each other,
like animals do. If you look at a fox. I’ll draw you sort of,
like a fox from the side. Like a natural looking fox
would be kind of this shape. And they’re kind of
like a little skinny dog and so they have these naturals rhythms
that they have in their body. And that’s all well and good
if you’re doing a quadruped head movie. We’ve done a lot of those. So that’s sort of what a
fox looks like from the side. But when we stood him up, we tried
to keep some of these same rhythms like in the chest, and the butt,
and in the hips, and the head. So you’ll see that Nick’s
exterior still maintains those same kind of things. So I’m going to take these drawings
and I’m going to put them aside for now, and I’m going to do
something larger now. Move this aside. I’ve got some Judy
sketches for later. Do this. This is gold animation paper
that we used to use years ago. And so if I’m looking at– Let’s see. Let’s do…
Let me see which one we’re going to do. Oh, here’s one. Here’s a fun one I did a while ago. So here’s Nick over here. There we go. You can’t see this one, but. So Nick has got this
sort of large head, that is sort of shaped like a gumdrop. So if you think about that kind of shape
for Nick’s head as a gumdrop. And then he has these ears that
kind of flow off the head like this. And his little pointy ears,
very fox like, right? And then usually what I’ll do to
figure out where Nick is looking is, I’ll put the nose in. And that nose is very long, so it can
swing all the way around the head. If I was to draw it to the side,
it might be all the way out here. But right now today, I’m going to
put it right here in the front like that. That’s sort of a
soft looking triangle. And then I’m just going to knock in
where I think those eyes might go. Right there in the front. And he’s got sort of slanty, foxy eyes. He’s very sleek. He’s like a fancy car
that goes very fast. And you can also kind of start
to block in a smile like that. Kind of just get your bearings
of where you want to put things. And just like Chris Buck was telling you,
start rough. Don’t worry about nailing
things down too quickly. You can go very, very loose,
very rough, and kind of find the rhythms
of your drawing. And then I’m going to drop
his chest and body off like this. Just kind of nice, long
flowing shape like that. And Glen King used to teach me
how to animate and he’s an amazing animator, who did Little Mermaid,
and the Beast, and Aladdin and he draws– Glen draws with sort of
these rhythm lines. He’ll find these things that are
called leading edges, where he’ll try to re-emphasize
these strong senses of rhythm in the characters. And we do that in
human characters as well. Like, you can take a
human being like this, if I draw a human being
from the side. You’ll see that people have the same
kind of rhythms, so you might have like,
this sort of chest, this rib cage that happens. Like if you look at a human being, that flows down into their pelvis
and their legs. So it’s the same kind of stuff
happening with human beings, but we’re just kind of taking it
and putting it into these cartoon animals. So here we have Nick
and in my little sketch– I’ll show you my little sketch. So in my little sketch
I have his hand over here, but I don’t like that anymore. I’ve changed my mind. I’m entitled to do that. I changed my mind. I’m going to put the hand
over here on the other side. So let’s see what that looks like. So I’m going to put
his one arm down here. I’m just going to block it in. There’s kind of a rough look
of what the hand might be. And I’m going to put this other hand
over here just because I like it better. And you’ll notice that a lot
of animators and artists will work in colored pencil or
something light to start with, before they tie it down with graphite. And again, that’s so we can get an
idea of what the pose is going to be, before we have to really lock down
where those lines are. And it takes the
pressure off in a good way. So you can just kind of relax
and start to figure out how all this stuff flows together. See, it’s the same kind of thing. It’s very easy, very relaxed,
no judgment. No one’s judging me
off camera, right? People off camera,
you’re not judging me. And so you can also start to block in
like where his clothes might be. Like, Nick has a collared shirt
that he wears with a nice tropical pattern, sort of like this lovely shirt
that I’m wearing now. And he has a tie that
kind of flows down like this. So again, very rough. And then I can figure out where I
might want to have those eyelids because Nick is kind of like
that sort of relaxed character. And so, if I just do his pupils here, to kind of show you
where they might go. Like that. And then put the eyebrows up there. It’s tough with Nick,
not to make him look too sleepy. He should look relaxed and sly
without looking sleepy. So I always have to play with
these eyelids to make sure they go in the right place. All right,
now that I’ve got that, I can go over to my graphite pencil. I’m going to sharpen and now I can start to kind of
knock in the black lines. And really start to kind of
tie it down. And again, I’m still being pretty loose. I mean, there’s– People like, when you draw, that these things don’t get
too tight, I think. Like, you know, any time as an animator
you start to tighten up, sometimes we would tell each other
to use bigger pencils. Like the bigger the pencil you use,
the rougher it winds up. So that keeps you relaxed and lets
you just sort of enjoy the drawing. It’s a relaxing exercise.
Oh, so nice. And again, now that I’m kind of
going over these red lines, I can start to think about the
fabric wrapping around Nick’s neck, about what this fold
might feel like here, kind of knocking in
little details like folds. Once I get to his arms,
he’s a mammal, so maybe he’s got
some fur on the arms. Put some fur there.
There we go. And again, just kind of
knocking in enough detail to get the idea across. You can go as fast as you want. And it’s always amazing to me
to see different animators work. Like Glen, Glen Keane,
who I talked about earlier, would just use graphite
from the beginning. He would just kind of come up
with these huge pen strokes of the pencil. And he would just use his
whole arm when he was drawing. And he was a great– He has a great figure drawing artist as well, so he taught us a lot in classrooms
like this, where you have live models. And learning to draw human beings is one of the hardest things that
you’ll ever have to do, but it really does teach you a lot
about draftsmanship and about shapes. And it’s a good refresher. Like, even for someone like me who’s
been around doing this for 25 years, I still really benefit from
going to these classes because I always find
I learn something new. And I see people right out of school
who are just amazing. And then I feel terrible about myself. [chuckle] Then it makes me
want to practice more. So there’s Nick. So that’s a pretty decent
version of Nick Wilde right there. And you can color him in
if you want to. You can sort of like, add some color, some foxy color
because they are red. I tend to draw– Whenever I drew Nick, I would tend to draw him
with a red pencil because I figured, just red pencil,
red fox, that figures. And with Hopps, I would always
draw her with blue or purple. Kind of purple because
she’s got those purply eyes. This kind of thing.
So. Okay, so here’s an example. So here’s a thumbnail,
if you can see that. Very light thumbnail and
here’s where I wound up. So I’ve made choices
and I changed things, but that first thought of what that
character should look like and where he should be, really helped me
get to where I needed to go. Okay, so that’s number 1. That’s Nick and let’s do a
version of Judy Hopps now. Let’s move this stuff.
Here we go. Everybody doing okay? Everybody still alive out there? I’m going to take a sip of water,
hold on. All right. Okay, so now you can see
this is very light, but you can see here I’ve got
some drawings of Judy Hopps– There goes a pencil– where I’ve kind of
sketched out some other poses. I’m going to go over this with some
purple so you can really see what I drew because this is probably kind of
light on camera. But again, it’s the same thing with Nick. Like, there’s some action poses here
where Judy is jumping. I’m trying to figure out
these different rhythms and she’s built very differently from Nick. You know, Nick is more of
kind of like this long cylinder. And he’s a little bit more
straight up and down. And Judy’s a little more curvy. She’s very athletic and she’s very– You know she’s always been
an athletic young rabbit. And she trained very hard
at the academy. So she’s very fit and she has a very
fit kind of this neoprene outfit that she wears, to protect her
from the dangers of police life. And so let me do a
larger drawing of Judy. Let’s see.
Why don’t we do– Let’s see.
I’m going to use one of these. So again, I’m going
to pick a thumbnail. And I am just going to start. Again, knocking in the head
is usually where I start, just to kind of figure out
where the character is looking, the angle of the head,
that sort of thing. Judy’s head is sort of,
it’s like Nick’s. If Nick’s is more of sort of that,
kind of flattened gumdrop shape or kind of like, if his is more of a,
like a football shape, Judy’s is really like a gumdrop. Like, if you think about this cute
little gumdrop with round cheeks, that’s sort of Judy. Like, you can think
about it like that or if you think about tipping it up
a little bit in dimension, that sort of thing. Kind of looks like that. But usually I’ll start with
this kind of thing with Judy. Very tall domed head. I’ll take the ears right off
the top of the head like this. There we go. There’s one ear,
kind of like big spoons. And then we kind of put this– Again, I’ll put the nose in
just to try to figure out where she might be looking. And then I’ll just kind of think about
where I want those eye sockets to be. Where I want those big,
expressive eyes to be looking. Kind of knock in the pupil there. She’s looking right at you. She’s got a little bit darker
eyelashes there, just to make her
look a little more feminine. And she has a pretty
small mouth, really. You know, it’s pretty petite
because we want her to look tough, but we want her to look cute
at the same time. Don’t call her cute though ’cause only bunnies
can call each other cute. So here is her face. And then from the face, I’ll take it down. And because Judy is so upright and is kind of–
she’s a great cop and she’s very proud, I usually kind of push her chest out
pretty far in any pose that I do. And then I’ll take that line
that comes off her chest to go down to these legs. She’s got very
powerful, long, rabbity legs. There we go. I just kind of figure out
where that line’s going to go, drop that like that. Just like this. Bring those arms down like this. Down like this. And again, I’m keeping it
nice and loose, so as I go, I can change it up and make changes to the pose
and make it stronger. She’s got large feet,
which I really like. She’s got that tail back there. Need to thicken her up here and there. But again, it’s all these lines that
kind of just flow into each other and they’re very much like
the thumbnails that I was doing, but I’m just doing it larger. So once I have that, then I can start to kind of knock in
the details of her costume like this. Try to think dimensionally
about the chest piece, about how that works. About where that badge might be. About where her belt is. That kind of comes across like this. Got all these little packs on there,
that kind of thing. There’s that tail again. And she has a great character. I know people loved
animating both of them because as animals,
they’re very physical. Nick’s very physical
and she’s especially physical. Like, she was so active. I think the animators had a really
great time figuring out how to make her move. All right, so I’m about done
with this pencil, the rough pencil. Now I can go to this graphite. Kind of sharpen up your pencil,
if you want to do that. Just getting a nice edge on it. You can go in and start doing
your detailed work on the eyes and the little highlight in
the eyes is nice. That’s nice, that’s real good. And then here’s eyelashes,
that sort of thing. The one thing I love about Facebook
and other social medias, I love seeing how much artwork
is done by fans out there. And it was incredible for me
because back when we did Tangled, it wasn’t really– there wasn’t a lot of social media
that was really out there in a big way. But with Zootopia, I loved seeing what
you guys did with your own art and your own
interpretations of these characters. Because everybody’s interpretation’s
going to look slightly different. Like, mine doesn’t quite look like Cory Loftis’s
or what Chris Buck would do or, you know,
any of these guys. But I think that I just learn so much
about peoples’ personalities by how they draw and what they choose to draw
and expressions and stuff. So here we go, again, I’m just kind of
knocking these lines in very casual, very relaxed. Aren’t you relaxed watching this? I know I’m relaxed. And there’s this. And then we kind of again,
little lines to tell you about the structure. There’s a cleanup teacher I had–
I started in cleanup in animation– who used to tell us that
when we were drawing fabric, to think about the fabric. To think about the fact
that you’re drawing fabric or when you’re drawing metal
to think about metal. And that would help you really get something–
a really good solid result. I could’ve been doing that more
here today ’cause I’m not being so precise. But again, I’m just trying
to like, knock these in, knock in the lines,
just so you get a feeling of these rhythms. Not tightening up too much. These are feet. She’s got a very complex costume. There’s that tail back there. Little toes. And we’re just about done with Judy. And Chris Buck did something on
his segment that I really liked. He showed how to draw
like a cute-ified version of these characters. In case these are too, you know– In case these are a little too complex, then you can also
do something like this, which is like a cute version,
a simple version of Judy or Nick. And I love characters with
little dot eyes, so here we go. So you just do like a gumdrop shape. Put those ears up there. Put two little cute eyes in there. Little tiny nose. Little tiny mouth. And then no matter what you do,
it’s super cute right. And this version is just as valid
as this version is. Nothing wrong with
doing cute drawings. I love cute versions
of the characters. Let’s see.
I’ll do this here. Again, I love to see
what you guys do out there with your versions of the characters because stylization is another thing
that we look at a lot with these different characters. And every movie is different
and every style is slightly different. I’ll do one of Nick
really quick after this. I’ll take some questions. There’s Judy.
All right. Let me do a quick one
of Nick right next door. Same thing with Nick. Usually like a big head on a stylized character,
gets you a long way. So here’s a big Nick head
with like, a little cute button eyes. Look at how cute that is. Isn’t that ridiculous?
What the heck? All right. And then he can be–
he can have like a lemonade. I’ll have him drinking
this refreshing lemonade ’cause it’s hot outside
in California right now. And he’s got like board shorts on
because he’s going to the beach and he’ll have tank top. How’s that?
A tank top. There we go. And how about a tail like that? So there you go. So that’s several ways
to draw Nick and Judy. And I think we have some time
for some questions. So Audrey is asking, when did I become
interested in animation and drawing? That is an excellent question, Audrey. Excellent. I became interested– You know, I used
to draw as a kid and I didn’t think
it was a career though. It’s funny because I used to have,
a long time ago, a little toy that allowed you
to look at film, you know, one frame at a time. And I had some Disney cartridges
that showed you some scenes from Jungle Book and Snoopy,
you know, animated Snoopy cartoons. And I was amazed
that there were actually people who were paid to do those hundreds
and thousands of drawings that moved and became animated films
and animated TV specials. And so I thought about that
a little bit when I was a kid, but in high school, I actually got
really interested in science and physics. So I thought I was going to be
a scientist for a little while. And then I got really interested
in live action film. So I wanted to be a live action film director
and I wanted to get into editing. And so it wasn’t really until college
when I saw the Little Mermaid, which is an amazing film,
directed by Ron and John, who are my contemporaries who work here. And I also saw Who Framed Roger Rabbit
and that made me really want to be a part of what
was going on at Disney. And it was this huge golden era
of Disney animation with Aladdin and Hunch Back of Notre Dame and all these amazing films
that were coming out. And so I really dug in
and tried to figure out how to become a part of that
way back then. So like, as you go,
throughout your whole life, your interests are going to change
and what you want to focus on may change and that’s cool. So I think, just follow your heart
and like, whatever you’re drawn to, follow and follow through. All right, and so Nay says, “How do you choose
what you’re going to name the characters?” Oh, that is a great question. Okay. So in the very beginning,
this movie was about spies. It was about animal spies
and this guy’s name was Jack Savage. And I thought Jack Savage
was a cool name. It sounded like a
super cool spy name, but as the film changed,
as it became more of a detective story, the name Jack Savage
didn’t sound quite right. Plus we also had the idea
that animals in the city were going to suddenly go savage. You know, we had this Savage Serum
and Savage Serum sounded really cool. So we thought well,
we need to get rid of the Savage and come up with something else. So we thought savage, wild.
Wild sounds good. So, Jack Wilde. And then we thought, now we’re making
Jack and the Beanstalk in the next room, so maybe not Jack. Nick, how about Nick Wilde? And so that’s how that
wound up being like that. And with Judy, Judy was kind of
like from the beginning. I liked the name Judy
because Judy reminded me of old films with Cary Grant and Katherine Hepburn. It was sort of a very 1940’s name. And Hopps.
Well, you know, Hopps. Okay, so that’s how. So Chris says, “How do you
come up with ideas for movies?” Oh, that’s a good– So what I love about this place is, I work with hundreds and hundreds of
brilliant people who all love the same thing. They love storytelling, they love film,
they love art, they love music and all together we work
in a very collaborative way. Like, I would say that I would not be
doing this job by myself at all because I don’t flourish like that. I flourish when I’m surrounded by
great people who have great ideas. And I think we all are so additive. Like, we’ll go into each other’s story rooms,
we’ll pitch each other ideas and we’ll talk about
the things that we love, the people that we love
and what’s important to us. And that’s really how we find
the ideas for the films because we really do try to
find things that are original. And we try to build worlds that are compelling
and characters that you love. But I think that all comes from
everyone here talking very honestly about who they are,
and about what they love, and about what their interests are. So it really does come
from a very personal place. And the more we do that,
the more the films, I think, land with the audience in general. And Hayley. Hi, Hayley. “Did Eric Goldberg
inspire your cool shirt?” Oh, he inspired everything. He inspired my pants. He inspired my workout routine. He inspired– No, Eric is amazing. He’s a hero of mine. Which is another great thing
about working here is, I get to work with many people
who are my heroes. Ron and John. Eric is a master animator,
who I first learned about on Aladdin. And when I was an intern–
this is about 25 years ago. I think about 25 years ago–
they took us into a back room and they said, okay you interns,
we’re going to show you something that no one else in the world has seen. And they played us Eric Goldberg’s animation
from A Friend Like Me from Aladdin. And my mind went bagoom and blew up. It was amazing. And it was like, I can’t ever do that. And I was so amazed
and so he is incredible. And if you seen– That man can do any type of animation,
anywhere in the world. So he’s amazing, yes. Diana. Hi, Diana. Diane is my sister’s name. And it was her birthday yesterday. Happy birthday, Diane. “What is it like–” Wait, tilt that down.
It’s shiny. “What is it like being at Disney? What did it take to get there? I look up to you.” Aw, thanks. Thanks, Diana. That’s very nice. Anyway, well it’s like–
it is a great time to be at Disney. The studio is 90,
almost 100 years old. Like, if you think about
when Walt started this place, we work right across the street
from the original animation building where they made Peter Pan
and they made Sleeping Beauty. And you can walk over there any time
and see this piece of history. And to know that I’m part of this legacy
that stretches back almost a century and to know that we’ve been a part
of so many people’s lives around the world. Because they translate
these films into, I think, almost 40 different languages
around the world. So when we finish them, after we get
done working in this building for years and years, they let us out and we go and we get to talk
to people around the world. And seeing that, is one of the
most rewarding things I’ve ever done. It’s like I’m very, very proud
of what we do. I’m proud of the
types of stories we tell. I’m proud of the characters
in the world that we have that’s inclusive and positive. And I’m very proud of the fact
that these characters live on beyond the movies. They become characters in worlds
that people want to hang onto for years on end. And Sarah is asking
what my favorite Disney movie is? Oh, Sarah, that’s a good question. She’s asking me what my
favorite Disney movie is. It’s a tough one.
I’ve got a lot. I’d say it was Zootopia. It was important. Robin Hood was a huge influence
on Zootopia. When I first went to John Lasseter
and we were talking about this movie, I brought up Robin Hood
that I had seen as a kid, and said I was so inspired
by these talking animal movies. And we hadn’t done one
in a long time. And he grew up on
Wind in the Willows, which is part of a movie called,
Ichabod and Mr. Toad, which came out,
I think, in the ’40s or ’50s. And so, he loved that film. And so we talked about, how do we
bring that into a modern film? But, for me, I think one of the most
important of all time for me was Little Mermaid because it was really the film that
made me decide to be an animator. I would not be here if Ron and John,
who work right upstairs, had not decided to put that film together
with Alan Menken and Howard Ashman. So that was a huge one for me. And now Johnnie. Hey, Johnnie.
What’s up? Hi. “How can you turn the things you love
into doing a job?” Well, I think that’s the thing. It’s a funny thing that people ask
because I do absolutely love what I do. And I think if you pursue
the things you love, whether you’re getting paid or not, eventually– someone said this,
eventually someone’s going to– it might have been Ellen DeGeneres– someone’s going to pay you to do it
or they’re going to pay you to stop. And I thought that was very funny, but I thought there was something
very telling about that. Like, if you pursue the things
you’re really interested in, you’re going to get
so good at them or you’re going to find something about yourself or you’re going to express something
to the world that no one else can. And there’s something about people here
who I see every day, who are every day doing things they love,
around people that they love. And I can’t tell you what a huge
difference that makes in your life. And anything is achievable. Like, if you want to learn
how to draw, it’s learnable. If you want to learn about music,
that’s learnable. If you want to learn about technology. You know, people have different strengths
and weaknesses, myself included and I think you just embrace that
and go through your life pursuing your bliss. Go after what you love. Arlene. Hi, Arlene. “How do you motivate yourself
to draw daily?” Oh, I wish I– I don’t draw as often as I should. Back when I was animating,
I would draw every day and I felt like I was very strong
and very good. But even doing this,
I had to go kind of warm up. I used those thumbnails earlier
about an hour before, to kind of warm up my hands
and to kind of get going. One of the ways that motivates
me the most, is I’m very inspired by the talent
that we have here all around us. So I’ll walk down the hallway
and I’ll look at someone’s desk and there’ll be this beautiful
character design or a beautiful painting, or I’ll hear this amazing piece of music
that someone’s composing and that inspires me
to want to learn more. And I think by just being surrounded
by very, very talented people and the Internet is great for that because if you’re
trying to learn how to draw, if you’re trying to learn
about character design or color, it’s all out there, just look for it. The films are a perfect example. Like, you can take any film that
we’ve done or anyone’s done and just pause it and look
and learn about the composition, about the character design,
about the choices that were made. But yeah, I need to
motivate myself more, so you’re right on. And Emma is asking,
“What do you do as a director? Are you focused on managing people
or do you animate too?” So I don’t animate anymore. I do do a lot of drawings early on
when we’re in development. Like when we’re trying to figure out
what an early idea is, I’ll do a lot of drawings to figure out like,
what the characters might look like, what certain situations might be. Very early on with Zootopia, we did some experimental pages
and boarding that didn’t wind up in the movie, but it gave the people who came after me,
after all of us, an idea of what kind of film
we were looking for. And usually one of the things
the directors do here, which is a very smart idea,
is to delegate. And delegate means,
I and other directors around us, we turn the reigns over of
all of these responsibilities like character design and layout
and backgrounds to people who really know their stuff. So we are very much a team. A director is surrounded by dozens
of very, very highly skilled specialists and we’re all part of this core team
that really has to make a film work. Heads of story, writers,
co-directors and, you know, it’s definitely a team sport. This is the last question from Anna. Hi, Anna.
It’s a nice name. There was a character named Anna. It was a very popular movie. “Which animal would you be
in Zootopia?” Well let me tell you, one of the
reasons there’s a fox in Zootopia is, I was obsessed with foxes
when I was a kid. I asked my father for them over
and over and over again and he said, “No, a fox is a wild animal. It doesn’t belong in a cage.” And I’m like, father I want a fox. I didn’t really call him father,
I called him dad. But he kept telling me, no. And so finally,
I wouldn’t take no for an answer. Finally he took me
to see a fox in captivity. It was crazy. It was crazy wired
and they’re not good pets. Sure there are some
good fox pets out there, please don’t judge that. But in general, dogs and cats are probably
a better choice for pets. But I think I’d make a nice,
kind of scrawny fox I suppose. Wouldn’t it be good? Or what else? Otters are nice, that’s nice. I like eagles.
There’s no birds. Oh well, what are you going to do? And then so, I guess that’s the last
question that we have time for. So I hope you guys have enjoyed this
little, How to Draw sketch thing that we did here live on Facebook. And please keep drawing. Go after the stuff you love. Those are great questions. And if you have questions,
write them in and I’ll see if we can answer them. So thanks, you guys. Great to talk to you.

50 thoughts on “How to Draw Your Favorite Zootopia Characters | Disney Quick Draw | Disney

  1. Here is a disney princess pitch. There was a young girl. She was born in a simple family with her mom and her dad. Then came her sister three years after her was the princess's brother. She loved her family very very much she would never ever want to lose them for her siblings and I would always make sure you were safe. When she went to school there were some people that didn't quite like her they teased her, but she just took it all in. Then one day her family moved. She went to a different school, and she found some friends. Her confidence was rising. As she got older, she had to start thinking of the future. She decided to focus on her education but still have fun. And she did. She had fun with her friends while still focusing on her school. She also joined many clubs.This paid off. She was offered a scholarship.When she graduated high school, she went to college. She worked her but off to be a Marine biologist. She graduated college and became a marine biologist. She loved this job because she loved animal and the water. The rest is up to you. PLEASE DONT MAKE HER FALL IN LOVE WITH A GUY BECAUSE SHE WAS IN TROUBLE, THEN SHE QUITS HER JOB TO BE A STAY AT HOME MOM. THE WHOLE POINT OF MY PITCH IS SO THAT IT EMPOWERS YOUNG GIRLS SO THEY DONT BELIEVE THEY HAVE TO MARRY A GUY. If you have a commercial that says anyone can be a princess, then use this idea. Make it so we never know her identity, we never see her. We only hear her. It is like we are in her point of view.

  2. I love the bass lines of walk and stalk (I think that's the one playing 4:00?) and every other song that plays in the background.

  3. when you will start to work at ZOOTOPIA 2… or just a simple questcion.. you work at it.. or you will work at it? .. if yes let me know.. and i really want to see Judy and Nick like a good team and friends.. not a couple.. thx.

  4. Zootopia is one of my favourite Disney movies and I appreciate the insight on how these beloved characters are drawn. Some really good advice which I will try and implement in my own drawings.

  5. I wanted you to have some influence on this, I wanted you to do the (ZOOTOPIA 2) so many fans who watched the movie and want a continuation if you can please do it but if it can not be alright I was one of those who watched film and I loved it if you can do ZOOTOPIA 2 I thank you means a lot to me, thank you!

  6. Is no one gonna talk about the insanely out of place music in the background lol,

    Haven't seen Zootopia but I figure that it's probably the soundtrack for the movie if I had to guess.

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