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Hello.

Last time, we worked on a full illustration.

I'm going to work on a portrait illustration today.

We're going to make a design

that is used for mobile games,

for instance, 'gacha' games.

I'm going to make a character design or illustration that would come out in a game.

We're going to find out how to express it.

I used to call it portrait illustration.

The name itself is kind of vague.

Some people call it an in-game illustration.

There are people who call it character illustration.

There are a lot of terms,

but what they have in common is that the background is transparent.

So, there's only the character.

I think it's that kind of illustration.

Illustration with a transparent background and a single character.

That's how it usually goes.

These days,

as the scale of the mobile game industry grows,

there's a slight change in things like that. They are changing little by little.

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There are times when we use a background,

there are times when a lot of objects are put in.

Or it's not focusing on the character, but the background.

Other times, it looks like a portrait illustration.

There are a lot of differentials like that.

This has increased the freedom of directing,

but also, the difficulty of the work itself is going up a lot.

That would be the downside.

So when I worked on portrait illustrations before,

even if you could just do a single illustration with only one character,

you could commercialize it.

It was like that.

But recently, to draw in-game illustrations,

you need to be able draw your own backgrounds.

You have to be able to describe things to a certain extent.

So only people who can do that

will be hired.

With this portrait illustration,

there is a slight difference from the previous full illustration.

Of course,

I said that

there are times when the background is included in the illustrations.

The difference is that in the case of portrait illustrations,

the shape itself is not square most of the time.

What does it look like?

It literally follows the silhouette of the character.

The background became transparent,

and there are various interfaces that fit the game.

The interface is open and a character is standing.

That's what it feels like.

So, when we made the full illustration,

we focused on organizing the screen itself.

So if the character is standing and the background is in the back,

we paid attention to the character and the view from the background.

The eyes that go out of the screen come back.

We also paid attention to these things.

But in portrait illustration,

the gaze doesn't go outside.

The character is always at the center.

So when it comes to composing the screen,

there will be some restrictions.

You need to know them well when you're signing your contract.

I think it's better to calculate those things before going in.

The difference is the difference...

Usually, there may be restrictions...

If I point out a few things that happen often...

The first one is lighting.

Illustrations with a background can be centered on the background.

The background can be the main focus, not the character.

Even if you use lighting that doesn't show your character well,

as long as the atmosphere is right,

this can be a mood on its own.

For the portrait illustration that goes for each character,

the thing you need to ask yourself is,

what does the character look like

and what makes that character attractive?

You need to focus your attention on the character.

Because of that, lighting that doesn't pay attention to the character

can be hard to use.

That's why there's a limit to the lighting.

And when it comes to using the background,

except for the ones that you can use,

except for games and companies that you can use them for,

most of the time, it's hard to use the background.

So, what happens if you can't use the background?

To make the surroundings of the character look fancy,

we can put in objects

that show the space.

You need to arrange the background and items.

I controlled my character and background.

With density distribution and things like that.

Since I have to focus on the inside of my character,

the need for description goes up.

It's about what you can show inside your character.

You need to have a lot of elements.

If I want to show you a lot, I have to describe a lot.

You'll need details about the design or something like that.

Because of that, there could be a difference in the amount of description you use.

And you said you'd show the space with the characters, right?

When it comes to expressing things like this, the three-dimensional effect...

I think it's a bit more important.

It's also a part of it...

In the background,

there are times when you intentionally make it flat.

The background and characters are kind of flat.

Like an Egyptian mural.

The flatness itself is a kind of art.

It exists when you organize it, but in the illustration...

But in portrait illustrations, like the one here.

In other words, it could be too bold to use that kind of direction.

For in-game character illustrations.

So at times like this, for the three-dimensional effect of the character...

You need to pay a lot of attention.

To learn these things today,

I'm going to use the characters that I designed before.

I'm going to mix the elements that the character can use.

I'm going to draw attention

with all the silhouettes and eyes that we learned earlier.

We're going to make a portrait illustration thumbnail for the character.

Let's move on.

Before we go in,

let's see how the character should stand.

I'm going to think about it.

Before that, we need to think about...

This is the same as full illustration.

Whatever illustration we draw, the first thing we have to think about is

what you want to show in this character.

Which part do you want to show the most to the viewers?

What kind of mood do you want to show?

I want to express this...

That's what it's all about.

It's very important.

As expected, the character's face and teeth...

I hope this part can be highlighted.

Same as the full illustration.

But the difference is,

in this illustration, I want to show the wand.

When I worked on the full illustration,

the wand was missing from the elements.

So, I'll put the wand inside the screen.

I wish I could show you.

In other words, the theme part is the face of the character.

The wand would be the sub element.

And then the sub element...

I think it'll be the creature in the back.

Let's think about how to organize it.

I can use the characters and the things in the back.

I said that the character needs to be more focused.

To give a strong impression to the character,

we have to think a lot about it.

The first thing I'm going to use is...

Just like the full illustration,

you can see through the character's face.

The face is kind of at a low angle.

The upper body is kind of at a high angle.

It's going to go in...

The lower the angle, the higher the angle.

I'm going to express the space where this character is standing.

Usually, when I work with portrait illustration,

even if it's see-through, it's like drawing an illustration with a background.

There are many times when I can't put in a lot of perspective.

If you apply too much perspective,

you can't really see the character's design.

There are restrictions on things like that.

In general, the height of your gaze...

Unless there's a low angle or something like that,

it's around the shoulder, around here.

So, as you go down,

the angle is getting higher.

On the floor, the space was spread out like this...

The space where this character is standing...

It's important to keep guessing

so that it looks more dimensional.

I can show you my character.

To show you the wand,

put the wand at the front of the screen.

I think that would be nice.

It's too much if I push it forward.

There are a lot of things to express in this drawing, right?

If there's only a character and a wand,

stretch its arms forward.

I don't mind if the wand is shown.

Besides that,

I need to put it to the creature in the back, too.

I don't think it's good if the wand draws too much attention.

To do that,

the wand should be kind of off to the side.

You can show your character's individuality through hand gestures.

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The angle of the wand is tilted like this.

To cut off the body of the character...

So, the view from the top to the bottom...

I twisted it into an S shape

It's to make the character more assertive.

For a situation where the character is more assertive...

So I cut it off and made it more assertive.

When I talked about what I saw before,

that was the part I focused on.

If this wand goes along with the character,

it's easy to focus on the overall situation,

but it's hard to concentrate.

So that you can cross the character's body with this wand,

I'll set it up and show you those parts

in a powerful way.

Let's do that.

While adjusting the angle,

let's find the feeling we want

for the thumbnail sketch.

It's not like drawing the human body.

We need to get on with comprising the overall mood.

I'll make the face look more detailed.

I'll express it.

The overall silhouette...

I'm going to make a diamond shape.

I think it's because we want to stimulate the desire to buy.

Because of the nature of portrait illustration,

if I see some characters, I want to pick one.

You have to feel that way.

The overall fanciness of the character is...

There are a lot of times when it goes into the basics.

I sometimes break things like this when I draw a character in that level.

Like a level 2 or level 3 character.

The extra characters in the game.

I need to hold it in when I draw things like that.

In most cases, for outsourcing works,

I work on a lot of level 5 characters.

When that happens,

to make the character look fancy,

it's very important to compose it well.

You can use it effectively at times like that.

It's a silhouette.

From the silhouette, the diamond-shaped silhouette...

It's effective in showing off your character.

I would have said that.

At the bottom,

I'm going to put many elements in.

The reason why I put a lot at the bottom is because

of the nature of the portrait illustration that requires space to be visible.

If many of the top elements are placed,

it's good to have cute characters,

but it's hard to show that kind of space.

When you make the background surrounding the character,

if the background goes to the back of the head,

it's hard to focus on the face.

So I'm going to place a lot of elements at the bottom.

It's about increasing stability.

So when I was working on portrait illustration,

I put a lot of elements on the bottom.

It's my personal style.

It's not that I can't use the inverted triangle silhouette.

There are times when I use it, too

The character is really cheerful

And if need to show that kind of action

I use an inverted triangle.

In general, it means to follow the triangle a little bit more.

With a diamond shape as the base,

mix the triangle a little bit.

It's good to go in.

If you have a certain frame of character...

Let's make it smaller.

I haven't added a triangular silhouette yet.

I put its hair up

We said we were going to add the triangular silhouette but it didn't go in.

I'm going to put those parts in there.

To the bottom of the face,

I want to give a strong impression.

As I want to give it a strong image,

I'm going to add some action to the creature in the back.

When we make up our characters' moves,

if there's a story behind them,

I think it can have with a stronger vibe.

For example, sitting down

versus sitting down and putting a hand forward.

If that happens,

the side that you put out your hand while sitting down...

It's a concept that makes it look more dynamic.

That's why the creature over here stays still

rather than not staying still. He's opening his mouth.

If you add a simple action like this,

it's more dynamic.

Open the mouth here.

Like moving your character's legs with the tentacles.

It's very effective to show the space.

I think it's a good item to do that.

The tentacles... The floor perspective that we're going to show you.

I'll show you this one indirectly.

I'll have to shrink it a little bit more.

The wider you do the silhouette...

As the scale of the picture gets bigger,

If you look at the weaknesses, you focus on the character itself.

So, looking at the character's face,

it's going to be a bit more difficult.

The character was made to look fancy.

It's very effective.

So, when there's an in-game illustration,

when it comes to the primary awakening, you can see it on the left side of the screen.

There's more composition where it stands still.

And then you need it to go in a fancier way with the second awakening.

You know, things like elite knights, right?

Most of the time,

if the scale grows horizontally and goes in...

I'm sure you've seen it a lot.

Wrap the tentacles in the back like this.

I'll use the 8-shaped composition, too.

I told you this when I was looking at it and making a silhouette.

You can mix these silhouettes.

This is a diamond silhouette.

Triangular, 8-shaped, etc. They will be mixed together.

Adjust the ambiguous angles...

Place it like this.

At this point, we're going to start the second sketch.

In the process of starting the second sketch,

continue to give yourself self-feedback.

I'm not sure if the things I wanted to express went well.

Let's check before we go in.

The face of the character,

the upper part of the chest.

Can you concentrate on them now?

Low, middle, and high angles were expressed.

Since the tentacles are in this area,

I think the character's face can

definitely be part of the main element.

And next...

Thanks to the wand that's sticking out,

the design of this wand will be visible.

And then if you look down,

you can see the visible tentacles.

You can see that the order that I first came up with was reflected.

Through self-feedback,

you can move on to the 2nd sketch.

Usually, in real life, there are thumbnail sketches, too.

I think it's better to make 2 or 3 general proposals and send them to the company.

It's usually a polite gesture.

It's kind of like a promise.

I'll send you 3 drafts.

There are a lot of times when I write it down on a contract.

So whenever you have time,

I think it's better to practice by picking a lot of rough sketches.

It will help you a lot later on.

For those who want to draw in-game illustrations,

if you have a particular game that you like,

and if you want to draw in-game illustrations,

make sure to design your own characters.

With each character,

draw the first and second awakenings separately.

That's what I recommend.

The reason why I do that is because,

when we draw character illustrations,

there are a lot of normal standing illustrations,

like the one on the left.

Otherwise, there are background scenes.

It's easy, but relatively,

if I try to come up with an illustration that fits 'in-game',

the scale doesn't get bigger.

So, I'm going to work on it briefly.

Like the one on the left.

And develop that character from there.

Let's do it.

Let's say the first round was the first one I did.

If you see it as an awakened character,

how can you make it fancy?

In the process of composing it,

the gaze that we learned earlier, or

the silhouette, lighting, and that kind of information,

you should be putting everything in,

while constantly organizing the screen

to make room for the characters.

In the process, you'll continue to develop your senses

to be able to work right away.

I think that's the ideal picture.

So if you want to draw a game character,

if you want to try a game illustration,

I hope you practice making illustrations like this later on.

I certainly recommend it.

But even when you hear this,

you know what I want to direct.

And you know what I want to express.

You want to show off these parts,

but you won't know what position the character should take to express that.

If you can't get the hang of it even when you watch this video...

Actually, the answer to that was in the beginning.

You'd use references.

For example, what I wanted to show you,

it was the side of the character.

I think the design of that area is fun.

So I want to show off the design of the sides.

Keep looking for an illustration that highlights the sides.

You can refer to that as your 'friend'.

What I wanted to show was the leg line.

Let's find an illustration that highlights the leg line.

Just keep that in mind.

I'll do my best.

I told you everything about the screen

in this curriculum,

so it might not be included.

This happens because,

in the end, the things you learn only from experience...

There are a lot of them.

I can't make up those experiences for you.

Instead, I told you about the factors that can fill in that experience.

Experience can be filled in.

In other words, the only thing that can fill your muscle memory is

to use your brain.

The things you can't do with your brain,

you can use materials for as indirect experience.

That is also about using your head.

They're tools that support your head.

If you approach illustrations that way...

Of course, compared to those who draw with their gut feelings,

it might take some time.

Compared to people who just know things at first glance,

it might take some time,

but when you invest that time,

if you had set a goal and carried it out alright... you can do it.

So, you're not wrong about what you're thinking,

it'll definitely take some time,

but you'll eventually be able to reach a positive result.

Now, I repeat that

making it your own...

I think that's the best way to study.

Should people who just started drawing not be able to draw well?

I want to say that it's not true.

Even for those who don't have much experience,

depending on the person,

there are people who draw really well considering it's their first time.

Most of those people are good at using references.

They're good at using references,

and they know exactly what they want to show.

If the illustration doesn't come out well compared to the time you spent on it,

it's because you're not sure

what you want to express.

So, I want to make those parts clear.

When you are doing the illustration,

when you do the portrait illustration, or the full illustration,

be clear about it.

And use the things

you can use for each situation.

If there's something you can't use, you can fill it in with something else.

So, in this curriculum,

I keep telling you

about the elements that are good to use.

In other words, the elements that we can use and cannot use.

If you learn those things well,

you can use that as a weapon.

That's what I want to emphasize.

I'm doing the 2nd sketch now.

The skirt got a bit bigger.

I'll shrink it a bit.

I'll show the design of the legs.

If I show the tentacles,

what do you think?

Now, this is an illustration

that could be used in-game to a certain extent.

While maintaining a diamond silhouette,

There's a lot of triangle silhouettes mixed in.

Using the 8-shaped composition,

I focused on the character's face.

In the order that I wanted to show you,

the character, the wand, and the tentacles in the back,

I showed them in order.

As the canvas has gotten bigger,

you can't really see its face.

So that you can see its face more,

It's okay to increase the size here.

I'll be applying deformers for the situation

as we learned about deformers.

In full body illustrations,

when you can't see the character's face because it's too small,

I purposely made the character's face bigger

and made the face visible somehow.

Deformers can be used like this.

Please remember this, too.

Since we've done one composition,

I should try something different.

Secondly,

the character's posture.

It's pretty strong.

The creature in the back will assist the character.

That's how it's composed.

The second thing I'm going to do is

make the character stand still.

Let's move the creature in the back dynamically.

Or we can link the background a bit.

I'll try to increase the scale.

As a result, it's like the seasoning of a dish.

If you increase the charm of your character,

it reduces the charm of the background.

If you take out the character's charm,

the charm of the background increases.

That's the concept.

However, the theme is character.

It's just that the premise is not broken.

Make it smaller and move it to the side.

In the second composition,

the character will be calm.

I'm going to keep the strong impression intact.

To give a strong impression,

use the hair to make it close to an inverted triangle silhouette.

I'm going to widen the lower area.

As expected, there's a creature in the bottom layer.

So, I'm going to complete the triangular silhouette.

I want to show my character's face strongly.

It's the same this time.

The character's unique point is that...

I think it comes from the face.

Then, this character is a character that doesn't show its face well.

That's okay if you say so.

You can emphasize other parts

if you're not emphasizing the face.

But I think 70 to 80 percent of the time you draw,

the face is going to stand out first.

There's nothing you can do.

Casual characters need to be pretty.

As I always say,

for the thumbnail, you should focus on making it look nice.

Let's do that later.

If you pay too much attention in the beginning,

as your working time gets longer,

there are times when you can't express the feeling that you want.

It feels like the wand is crossed with the character.

I'm going to put it in.

I'll place it in the back like this.

I'm going to hold it horizontally this way.

If you cross it like this,

as the character becomes a cross shape,

the character in the middle section

will attract a lot of attention.

Since you're focused enough on your character,

it's okay to make a fuss in the back.

Make a fuss with the creature in the back

as if you've never seen such a thing before.

When you don't draw much attention towards your character,

if you do something like this,

the creature can become the main element.

It would be a very dangerous choice.

But now we're crossing the wand.

Unlike the background,

I'll make it stand calmly,

or because it has this gap...

In terms of the character, no matter what,

it's a section that attracts people's attention.

Since it's that kind of situation, I was able to direct it

by making a fuss in the back.

That's what you can think.

The quiet character and its chaotic surroundings.

There's a big difference between them.

For that character,

when you give it a scary feeling,

it's going to be effective.

Should I say it's different?

You can think of it as intentionally using unnaturalness.

A simple theory of instilling fear.

In a way, it's not simple.

It's an interesting theory.

Out of that...

There's a theory called the uncanny valley.

The closer the character gets to reality, the more attractive it becomes

but there's a sudden drop in attractiveness at a certain level.

The part where your attractiveness increases and then decreases.

When we saw this section, we called it an uncanny valley.

When we want to instill fear into our characters,

when you want to give off a horror vibe...

The point is to touch the valley on purpose.

When you look at this picture, it needs to look unnatural.

One of them...

The background in chaos and the character who stays still.

The unnaturalness that comes out between them,

you would want to express that.

I'm going to express fog in the back

and make the silhouette as wide as possible.

It can enhance the fear from the viewers.

The overall posture of the character has become very monotonous,

but, let's make a flow here.

When the posture is small, and if you want to make the flow clear,

the end part of the gaze flow is important.

What would be the end part?

There's not much you can control with the feet.

The area that you can adjust the size of will be the face.

So, the line that's like this...

If there's a line like this,

the middle part is definitely less bent, right?

But since this area is bent a lot,

from the perspective of the viewers,

it looks more bent.

Even though the end of this curve is bent.

Then, the face of this character

will be bent like this.

Bend the shoulder so that it's opposite to your face.

By creating the contrapposto to the human body,

you can strengthen the character's

atmosphere overall.

If you go into the second sketch,

the skirt has a low angle.

It feels like it is held up.

Other than that, the place we look at the characters

would mostly be the shoulder area.

You saw the character at a low angle.

If you give it that feeling,

the character itself looks huge.

You can control the pressure that comes out of it.

I think it's easy.

When you look at the low angle and high angle,

the low angle would be more intimidating.

Usually, cute characters are looked up at from the bottom.

It's a bit of an overbearing character,

like a queen.

There are a lot of times when these characters look down on you.

You can use those images, too.

The images that we use in the picture.

The image is...

Even if I ask people who don't draw,

Most of them say the same thing.

So, the important points used in illustration,

it also means that we already know them.

It's important to be aware of how much you use them.

That's what's at the heart of my class in the end.

There are a lot of things that you've used up to now.

I'm sure you're all using these.

If you've drawn before,

you've surely done things that you thought were pretty.

When you thought something was pretty,

it's similar to the perception that people already have.

I'm sure you'd be feeling it.

This is pretty. This is cute.

I think this side is more attractive.

Things like that.

But usually, you have these thoughts unconsciously.

There's nothing that's decided.

This is how characters appear cute.

Unless someone decides it for me,

actually, it's hard to be sure about that.

But even if no one does it,

please decide it for yourself.

When you go in like this,

the character looks cuter.

When you go in like this,

it gives off a high-pressure feeling.

In the process of observing the illustration,

we talked about studying materials earlier.

In the process of studying the materials,

you set your own rules beforehand.

And used them consciously.

We're talking about the same thing here.

It's important.

If you do it like this,

to focus on the character in the middle of the cross...

So the characters and the eyes of the people around it...

I'm making it a cross.

It's more like a diamond silhouette.

I looked up a little more than I had done before.

Should I say that it's that calm?

The left side is a bit more stable.

I want to show the space better.

But thanks to the unstable feeling, the fear element was added.

It's the second case.

Depending on what you want,

it can be composed differently.

I'll do one more.

What I'm going to do this time is,

let's think differently about the concept of space.

The character doesn't have to stand up all the time.

The character can sit down.

There are times when you need to make up a situation where it lies down.

How can I draw you lying down with an illustration?

You can have the view as a top view.

Like you're looking at the character lying down from the sky.

Make the background into a blanket or something like that.

I made a blanket like this.

The blanket itself becomes the shape of the entire illustration.

That's possible.

I won't use it often, though.

No matter what, for the conditions...

That's what you need now.

Can you focus on your character?

Can you see

the space well?

Did the character become the main element?

And overall, does it look fancy?

That is, can I stimulate your desire to buy it?

If these three conditions are met, it would be good.

Portrait illustration.

In a way, you can say that they have are fewer restrictions.

Of course, compared to full illustrations,

There are a lot of restrictions.

That's true.

I'm not saying it's too limited.

Let's make one more example.

This time, we're going to come up with a creature in the back.

Until now, I showed the character first.

Then, show the wand.

We were able to see their eyes were connected.

This time, I'll take this wand out on the side.

The creature in the back.

We're going to connect the characters and show them.

How do we do this?

The fact that this creature's character is sitting on it,

that's not bad.

Let's calculate the overall flow of the gaze.

The gaze can go from top to bottom.

Or you might look away and go in.

If you're looking down from top to bottom,

Or as if you're looking at it from the front.

I think it'd be good to make the character sit down.

If it's bent like this,

it'd be nice if the same character was sitting on the other side.

I think you can make it attractive either way.

In fact, in the former one, the gaze flows down.

It makes you feel calm unwittingly.

So, the feeling I want to give to this character,

it's still intense.

But this time, this horror vibe...

I don't want to give it to you like that.

I mean, I don't want to give you that feeling.

I want to show it naturally.

That's what I thought.

For me, the 2nd one...

The character has an S-shaped silhouette.

We're going to do that.

Just like the first illustration,

the character has a strong posture.

The background elements surround the character.

I'm going to create an illustration.

Draw as many bodies as possible

Until I can pick one easily.

So, let's practice.

You don't have to pull it out exactly.

It's actually the most burdensome to draw without any pressure.

You'll know that if you've done it before.

But they say that we should draw the human body without any burden.

At this stage, I'm trying to make the proportions correct.

You'll see for yourself.

Then, 10 to 20 minutes go by so quickly.

There will be times when it won't go as you expected.

In that case, you have to stop on your own.

When it's the time to keep paying attention to the human body,

you have to check it by yourself.

You're supposed to make your human bodies correct.

I'll try to make it rough.

It's okay to get it wrong.

Let's focus on expressing our feelings.

As expected, with this drawing,

the characters will come out small.

I'm going to increase the face size.

An earlier theory that we used...

I'll bend the ends of the face a little bit.

You know the flow that I was going to give it?

I'm going to make this flow stronger.

Let's draw the face in more detail

The face is very important in a character.

I'll also add a simple cloth silhouette.

That's going to cover the fundamentals of thumbnail sketches.

I'll give you a tip here.

When sketching the thumbnail,

it might still be hard to draw a tentacle like this.

What am I supposed to do with this?

There are times when you might think that.

It's hard to draw a human body at first,

especially the arms and legs.

If you look at it, it stretches out.

It might be hard to draw a cylinder like this, too.

So, let me give you a tip.

If it's really hard,

it's good to color it with dimensions.

This is called silhouette drawing.

Organizing the canvas with dimensions.

This is a very effective method.

Of course, the reason why I don't recommend this method is

because if you do it like this the first time,

later on, when you're working on the character sketch,

it will take

a lot more time.

In the process, you'll lose your motivation.

You will have a lot of times like that.

The way I'm going to recommend to you today is...

I'll show you how to do it in a line.

If you think this

is harder,

it's okay to proceed with the dimensions first.

There're other ways, too.

I'll tell you a fun trick.

Create one layer.

If you press FX,

we used Outer Glow.

Which one are we going to use?

What I'm going to use today is the Stroke.

This Stroke is literally...

I'll draw a line on the outside of what I drew.

And if I color it in white...

If I color it in white,

there's a black line on the outside.

Let's use something similar that we learned before.

When you use it as a Stroke,

there's Opacity and Fill in the upper right corner.

If you turn off the Fill,

there's only a line left.

Let's use this

to draw a tentacle.

It's so hard to get the silhouette of the character's hair.

It's so hard to get the silhouette of its hair.

People who want to draw in dimensions, too...

You can depict the hair like this.

There are a lot of people who think this is a bit easier.

So, while you're working on the sketch,

and if you can't draw things like that,

what the heck are you supposed to do?

For those who think like that,

you should try drawing it with dimensions.

It'll be easier to access than you think.

Hold the wand behind the body like this.

It's almost invisible.

Similar to what I discussed earlier in the 8-figure composition,

the tentacles wrap around the character.

Let's continue to draw attention to the character.

Let's move on to the 2nd sketch.

One of the things that I recommend, when you make a thumbnail like this,

especially if you're a student,

so you can get confirmation from someone,

I'd like you to draw it without being scared, if you can.

How can I describe this later?

If you start removing one or two of them,

it's hard to study.

If you want to study for sure,

to the point where you wonder if it's okay to do this,

it's a good idea to start something but then

later, in the process of fixing it,

of course, it's hard to fix it.

You're going to fail for sure.

But don't be afraid of failure.

What you do in the process of studying

is a process of failure.

So I hope you draw as boldly as possible.

Rather than what you think,

I think you should do 30% of what you can do.

It's really nice to have someone who can fix it from there.

If you don't know anyone like that, you'll just have to take your time.

You have to take the time to give yourself self-feedback.

Compare good materials and pictures that you like.

Did I do something wrong?

You'll try to find those parts.

You'll go through a self-study process.

Of course, if you're not learning from someone else,

it'll take a long time doing it all on your own.

But that's how you get through it by yourself.

It's not so bad...

The things you learn by yourself can be much more memorable, actually.

It's important to keep studying without getting depressed.

For those who follow along with me,

follow the way I've been doing things.

If you're doing a portrait illustration,

those of you who are studying,

I hope you try your best.

Ask yourself if you can do that much.

Yes, try it.

If you can't, you can think about it later.

That's my life motto.

What happens later is what happens later.

Worrying about the future doesn't mean you can prepare for something.

The character has become more mature, right.

I'm going to make its face bigger to cover that feeling.

I'm going to make the hat bigger, too.

What I'm telling you in this class

are the same things that I always pay attention to when I work.

What's the gaze flow?

What are the parts you want to show off?

How are you going to show the perspective?

How are you going to organize the space?

What are you going to do with the silhouette?

These are all things I think about when I work.

They're critical.

If there's an illustration that you're still working on,

go through the process of self-feedback.

There are people who can't do this well.

As much as I've been working for a long time...

What's important when you draw is,

for those who work a lot each day,

they work about 7 hours a day.

As for those who do it more,

sometimes, it can be up to 10 hours.

Everyone has a different level of physical strength.

We have a different amount of time to work.

Of course there are differences depending on the person.

But the important thing is to have enough time to draw.

I'm sure there are times when I work longer than an hour.

As that happens,

drawing is not about maintaining great concentration for a short period of time.

I think it's more about maintaining loose concentration for a long time.

It's very important.

But in that process,

You'll have no choice but to spend some time blankly.

In the meantime, there will be some days when you draw mindlessly.

When that happens, you'll stop in the middle.

It feels like a switch goes off in myself.

Like stepping on a trigger.

Stop and see if what you're doing is right.

It's essential to take time to verify it.

For those who find it hard to take that kind of time,

it's good to set an alarm.

When I work on something, I set an alarm every 2-3 hours.

When the alarm goes off, you stop and look at your drawing.

You look at the picture from another person's point of view.

There are many ways to analyze it.

There are people who check it on their mobile screens.

There are people who flip it over.

That's a way to use the reversal function.

Starting with the left and right reversal.

And it's a good idea to check with someone else.

It's a way to compare yours with other illustrations.

I use various methods.

I don't think there's any errors.

I'm not sure if what I want to do is going well.

Those are the most important things.

I'm uncertain if what I hope to show you is being expressed well.

You have to think about that before going into it because it's an illustration.

If your concentration is too good,

if you were so focused while you were working on it,

if you're not good at stopping and thinking,

it's really good to set an alarm and step back from it.

You don't have to be sad that you can't do that.

If you focus on one thing, you can't pay attention to other things.

If you focus on the details,

if you don't care about the overall balance,

when you focus on a part of it, your concentration

will be stronger than for others.

That's a strength in a different sense.

The pros and cons always come together.

Think positively.

You just have to cover the areas that are weak.

I chattered along like this.

I've done the 2nd sketch of this character.

Let's compare them and take a look.

We made three compositions.

The character has a dynamic vibe.

The first step is for the creature in the back to assist it.

I'll show you the character and the wand first.

We went into the order for showing the creature.

And I wanted to show a scary feeling to the character.

The second time I intentionally made it look different.

It has a strong effect behind the character.

I'm going to fill in the fancy atmosphere.

Compared to the left side,

it's close to the inverted triangular composition. I'll put a lot of weight on the top.

It's unstable but intense.

The characters and the creature in the back.

It's the 3rd one that created a natural connection.

Since the character is sitting on top of an object,

compared to the two friends I drew earlier,

it's much easier to predict the spatiality.

The tentacles in the front, too,

contributed to the whole thing.

The tentacles in front of us and the head where the character is sitting.

The head of the tentacles, the tentacles at the back.

The illustration is in three layers.

Showing the space with all the layers is

the third case.

Each of us wants to show something.

You'll be able to see what's in there.

Like I said,

the diamond composition close to a triangular one,

you'll see that it's used very often.

If you organize the screen like this,

there will be some objects that can be used in person.

So, you need to follow your character's mood

to create an illustration, and to do that,

what would you do when you create a cute character?

What should you do when you want to give a calm vibe?

That's what's in the end of the class.

Let's do it together then.

I'm going to grab one of these

and I'll draw the lines and color the characters.

Next time, I'm going to try the color roughing stage.

This time, before...

I didn't tell you much about the full illustration process.

It's in the light and shade stage, so we're going to talk

more about it in detail.

That's all I've got to say for now so I'll wrap up today's class.

Thank you for your hard work.