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Hello.
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Today is our 2nd bonus chapter.
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We will go through the thumbnail part.
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In the 1st bonus chapter,
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we went through the basics in detail
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which we didn't handle in the basics lesson.
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Today, we're going to talk more about thumbnails.
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It's the extension of the full illustration thumbnail
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from the previous class.
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The reason why we're going through this is,
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as we go through the thumbnail,
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in the end, we're going to compose the screen.
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But the problem is the screen composition.
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There are a lot of cases for the composition.
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All illustrations are cases of composition.
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There are hundreds of thousands of cases.
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I couldn't go through the hundreds of thousands of
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screen composition cases in the previous class,
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I couldn't show you everything all at once.
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Therefore, to show you as many cases as possible,
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we're going to have some thumbnail time today.
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On the left, there are a few characters that I designed before.
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By using some of them,
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Subtitled by
-♪ online-courses.club ♪-
We compress knowledge for you!
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we'll compose the screen with these.
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Depending on the emphasis,
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and the point we want to show,
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let's choose one.
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Let's start with a cute character.
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How should the shepherd character on the left
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be organized on a screen?
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I'm going to approach it from an artist's perspective,
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one who is drawing fan art for this character.
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This character is like a shepherd.
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Since there are casual-looking sheep around,
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it'd be nice to show the two sheep together.
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By showing them together,
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it'd be good to express the cuteness of this character.
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When I express the cute parts,
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I tend to express it at a high rather than a low angle.
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The character itself has a big scale.
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Instead of a horizontally long screen,
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I think it's going to be a small screen
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that highlights the character's charms.
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I think a vertically long screen would be better.
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Like this one.
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Let's make it wider horizontally.
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The narrower it is, the more pressure it has on the screen.
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It's good to have more concentration.
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But your drawing can become more serious.
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If the screen is vertically long,
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of course, it works on the horizontally long screen as well.
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If it's too wide, it'll look too serious.
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So to prevent it, I made it wide overall,
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to make the foundation look cute.
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And I'm going to add the character.
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I think a high angle would be better.
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With a high angle,
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we could design the character to hug this sheep here.
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I think that'd be appropriate
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to show the cuteness
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of the character.
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The overall flow of the gaze,
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I'll arrange it so that it goes around like this.
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If you put it down in a calm position,
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as expected, the overall image
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changes to a calm mood.
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Using this character's entire body line,
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I'm going to turn the gaze a little bit.
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Basically, people's gaze,
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moves from the top left to the bottom right.
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According to the direction of the gaze,
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if we arrange the character together,
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it makes the gaze move faster.
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When it comes to dynamic composition,
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it's a very helpful composition.
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But this time,
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I don't want to show the character dynamically.
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So it'd flow from the top right
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to the bottom left.
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We're going to proceed, using that perspective,
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just like the thumbnail class.
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Rather than going through the 2nd sketch,
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we will do the first round in more detail,
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to take a look at the examples of various cases.
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I think this thumbnail part is the most important in illustrations.
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That is, the screen composition part.
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For people who practice it,
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if possible, try it every time you design your character.
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Or fan art is fine as well.
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Practice a lot with fan art.
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Let's increase the number of cases.
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And if possible,
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when you're doing it for the first time,
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there's not much data in your head,
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so it's hard to do it right away.
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So, these people need to go ahead and look at references.
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It will be a bit annoying
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to look at references whenever you're drawing.
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So, you need to increase your database in your head.
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In the end, when you learn how to draw,
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you can't create information that's not there.
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So, you have to create more information.
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To do that, while practicing drawing,
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the two processes that you have to go through are...
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First, inserting new information in your head,
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and second,
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utilizing the new information.
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So, these are the two steps.
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It's similar to the conceptualization part and the actual drawing part.
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These processes would be how we study drawing.
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So at first,
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for those who are practicing composition for the first time,
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you should look at the materials that you can refer to,
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and try practicing a few times.
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And if you've done that before,
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if you've practiced before,
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approach it as if you're practicing the creation process.
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I think it'd be good to set many examples in your head.
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I think it'll be pretty if the character's eyes are smiling.
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So, I'll make its eyes smile.
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I'll make the face as small as possible
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and the head bigger.
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That way, the character will be younger.
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When expressing a cute character,
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I told you that it's good to make the eyebrows go high.
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Since the shoulder goes out forward,
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don't forget to move the shoulder bones.
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There's the main element here.
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So, it'll be good to place the sub-elements close.
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I want it to look cute.
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If it's a calm character, make the sub-elements go far away.
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If it's a cute character, place the sub-elements closer.
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That's what we learned before.
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Place it close and make it as big as possible.
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Let's add some cuteness to the drawing.
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The outfit isn't too open either, and I'll place it as high as possible.
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It's important to make the canvas look full.
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If the canvas looks empty, it'll make you feel calm.
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So, let's create a canvas that looks full.
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I'm not going to put in a lot of creases.
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The more creases there are, the more detailed the illustration looks.
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That's good, but detailed illustrations
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look a bit serious.
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It's slightly different from the cute vibe I want to put in right now.
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So I'm going to decrease the creases for now.
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I'll make it pet the sheep.
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I'll add another sheep at the bottom, too.
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Let's make the canvas look full.
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I'll draw animal feet here to make it look cute.
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I'll make the hair look fluffy.
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Because this character is designed off of sheep,
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let's make it look fluffy.
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If you want to show the sexiness of this character
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and if you want to show how beautiful its body is,
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show the leg that comes forward like this.
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I'll need to give up on the hand gesture,
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but I can show the stockings around the thighs
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to show you the charm of the character.
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To show the leg more,
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I'll pull the character up to the right.
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I'll pull it towards the top right,
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and I can show the details by showing its leg more.
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You can adjust these depending on
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what kind of canvas you want to show.
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In the end, that's what composition is all about.
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Subtitled by
-♪ online-courses.club ♪-
We compress knowledge for you!
https://t.me/joinchat/ailxpXoW3JVjYzQ1
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Depending on what you want to express,
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the composition changes drastically.
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It's important to think about it well.
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It's important to think about it clearly.
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It's essential, actually.
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If you don't know what you want to show,
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it actually shouldn't be like that.
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You should divide what you want to show
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into the main and sub elements.
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You could go a bit further
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and divide them into main, sub and extra elements.
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You should do that.
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You need to choose the thing you want to emphasize the most.
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Then, you'd choose what sub-elements want to emphasize after that.
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And then the extra elements.
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Usually, when we have these three spices,
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your final dish will be charming and tasty.
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It's kind of like that.
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If you can taste
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the sweetness and the spiciness,
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you can then add a bit of savory taste.
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When we have all those flavors together,
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you'll think that the dish is tasty.
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So, I composed the first illustration like this.
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Let's try something else.
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Who else would be good?
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Let's try this bat character here.
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I'll make a composition with this one.
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This character has a calm impression.
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Since there's a lot of skin exposure,
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I think it's possible to make it look sexy.
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I think a vertically tall canvas is better than
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a horizontally wide canvas
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to show this character's chic aspects
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and its sexy impressions.
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Of course, if you want to create a serious mood,
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I think a horizontal canvas would be good, too.
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This time, let's emphasize the sexy atmosphere.
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A chic and sexy mood.
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To bring that to life, the overall flow of the gaze
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won't be in a curved line like this,
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but will instead be in a straight line like this.
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But if you make the gaze go like this,
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the illustration might look a bit bland.
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One of the most effective ways to do it
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is to make this gaze line tilted a bit.
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The gaze flow would go like this.
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To compose it like that,
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let's see how it would be arranged.
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This composition is used quite often
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in trading card game illustrations.
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When the character itself looks bland,
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and if you want to make the entire illustration look fancy,
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you might tilt it like this.
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Let's remember that.
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But I won't tilt it too much
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since I'm going to give it a chic look.
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If you're not going for a chic impression,
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but if you're only going for a cute vibe,
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it would be better to tilt it a lot.
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I'm going to use a low angle.
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I'll make the character look like it's far away.
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Unlike what I did for the cute character,
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I'll make it look a bit loose.
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I'll relax the shoulders, too.
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It's tilted too much.
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I'll turn it around a bit more.
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Change the angle
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depending on how much
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you want it to look loose.
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Since it's a casual-style character, I'll make the face bigger.
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Let's add some details.
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I want to show its body rather than its face.
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So instead of making a strong expression on its face,
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I'm going to make the face look calm.
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The character looks girly,
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so I didn't lower its eyebrows that much.
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If I wanted to give it a mature look,
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I would have lowered its eyebrows.
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When you make the eyes smaller,
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don't forget to reduce the face size.
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If the eyes are small
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while the face itself is wide,
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the face would look really flat.
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I'll adjust the face shape.
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I'll lower its eyes a little bit.
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I'm going to make the hair fly as well.
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Usually, when we draw in an animal's ears,
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out of the front hair parts, side hair parts, and the back hair parts
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that we divided before,
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they go into the back of the side hair parts.
260
00:15:57,629 --> 00:16:00,604
If it goes between the side hair and back hair,
261
00:16:00,605 --> 00:16:02,209
you can draw them easily.
262
00:16:18,988 --> 00:16:20,790
If you look at it now, you can see that
263
00:16:20,791 --> 00:16:22,811
I made the face a bit smaller than the one on the left.
264
00:16:23,111 --> 00:16:24,270
The reason was that
265
00:16:24,271 --> 00:16:27,263
I wanted to draw attention to the body
266
00:16:27,288 --> 00:16:29,982
and because I want to make the character look more mature.
267
00:16:30,669 --> 00:16:33,061
The character itself has a young physique,
268
00:16:33,892 --> 00:16:38,688
so to make the character look mature,
269
00:16:38,689 --> 00:16:40,821
I purposely made the face smaller.
270
00:16:40,882 --> 00:16:44,307
So, a Deformer would become different depending on the situation.
271
00:16:44,453 --> 00:16:45,935
Deformers change fluidly,
272
00:16:45,936 --> 00:16:47,625
depending on the situation
273
00:16:47,628 --> 00:16:49,235
you want to express.
274
00:16:49,287 --> 00:16:51,094
Don't take it too hard.
275
00:16:51,160 --> 00:16:53,625
You can adjust it according to the mood you want to express.
276
00:17:11,105 --> 00:17:13,598
I'm going to keep my character's body calm.
277
00:17:14,187 --> 00:17:16,512
But I'm going to make it look fancy at the same time.
278
00:17:16,513 --> 00:17:18,580
How should we approach that?
279
00:17:18,894 --> 00:17:20,914
We can make the character itself look calm,
280
00:17:21,120 --> 00:17:23,385
but decorate the surrounding elements.
281
00:17:23,451 --> 00:17:25,601
This character has wings.
282
00:17:25,908 --> 00:17:28,964
If the illustration includes a close-range view and a distant view,
283
00:17:28,989 --> 00:17:31,171
the illustration looks more spacey.
284
00:17:31,196 --> 00:17:33,030
When it comes to expressing those kinds of things,
285
00:17:33,032 --> 00:17:34,530
these wings are going to be an effective method.
286
00:17:35,605 --> 00:17:36,612
I'll make the wings
287
00:17:40,107 --> 00:17:41,759
go forward
288
00:17:45,078 --> 00:17:46,842
and draw it like this.
289
00:17:49,006 --> 00:17:51,728
Let's make sure that it composes a close-range view of the canvas.
290
00:18:00,585 --> 00:18:02,932
I'll also make the hair fly around.
291
00:18:02,933 --> 00:18:06,306
So, there's a calm character and flying elements around it.
292
00:18:06,430 --> 00:18:07,736
In these two things,
293
00:18:07,737 --> 00:18:09,463
I'll place it,
294
00:18:09,464 --> 00:18:10,591
to make the character look fancy.
295
00:18:40,849 --> 00:18:42,473
When you make a thumbnail,
296
00:18:42,474 --> 00:18:45,745
I sometimes make up to six when I draw one character.
297
00:18:46,573 --> 00:18:48,159
The reason why I draw so much is
298
00:18:49,410 --> 00:18:50,598
in the end, to find the one that I like.
299
00:18:50,920 --> 00:18:52,734
If I get one I like,
300
00:18:52,737 --> 00:18:54,414
I will be satisfied.
301
00:18:54,439 --> 00:18:55,569
Besides that,
302
00:18:55,570 --> 00:18:57,357
it's just because it's fun.
303
00:18:57,500 --> 00:18:59,345
When you first start making thumbnails,
304
00:18:59,347 --> 00:19:00,724
you may get scared.
305
00:19:00,905 --> 00:19:03,008
If you start to get used to it after a few times,
306
00:19:03,010 --> 00:19:04,445
actually, it fits the screen composition,
307
00:19:04,446 --> 00:19:06,594
and the act of drawing,
308
00:19:06,596 --> 00:19:08,272
So it's the most appropriate behavior.
309
00:19:12,014 --> 00:19:13,910
It gets more and more fun.
310
00:19:13,911 --> 00:19:16,579
From that point on, when you just compose the screen,
311
00:19:16,604 --> 00:19:18,916
you'll have a lot of fun.
312
00:19:18,941 --> 00:19:21,044
So keep working on it to reach that level as soon as possible.
313
00:19:21,046 --> 00:19:22,433
After you get there quickly,
314
00:19:22,434 --> 00:19:24,295
I hope you continue to train,
315
00:19:24,793 --> 00:19:26,515
by repeating the screen composition.
316
00:19:32,442 --> 00:19:33,934
Like the wing on this side,
317
00:19:35,178 --> 00:19:37,906
take out the wing on the other side of your arm like this arm.
318
00:20:00,988 --> 00:20:04,163
So I'm going to take one wing out to the back of the screen,
319
00:20:06,706 --> 00:20:08,801
and place the other one in front of the screen.
320
00:20:08,861 --> 00:20:10,426
If you look at the overall flow,
321
00:20:10,428 --> 00:20:12,007
you could see it flows like that.
322
00:20:12,995 --> 00:20:16,146
But with this flow only, the picture might look a bit cliché.
323
00:20:16,149 --> 00:20:18,397
It'd be nice to add something that's a bit against that flow.
324
00:20:18,422 --> 00:20:21,711
There are red thorns around this character, right?
325
00:20:21,790 --> 00:20:23,102
By using them,
326
00:20:25,865 --> 00:20:28,711
by adding the ones that are against the flow,
327
00:20:28,789 --> 00:20:31,233
let's make elements where we can afix the gaze.
328
00:20:33,505 --> 00:20:35,013
These are point elements.
329
00:20:35,223 --> 00:20:36,617
By thinking about points, lines, and planes,
330
00:20:36,618 --> 00:20:40,579
if you compose the screen freely,
331
00:20:40,604 --> 00:20:41,998
it'd be calm overall,
332
00:20:42,023 --> 00:20:44,738
but with a sexy and strong impression added to it.
333
00:20:47,690 --> 00:20:50,210
You can see that kind of screen.
334
00:21:06,374 --> 00:21:08,107
It's not good if it's too wide vertically.
335
00:21:08,116 --> 00:21:10,939
Let's find a character that we can use in the horizontal widescreen.
336
00:21:13,852 --> 00:21:14,888
In a horizontal wide screen,
337
00:21:14,896 --> 00:21:17,174
you can add any character if you want to,
338
00:21:17,192 --> 00:21:19,732
but the characters with a more serious vibe
339
00:21:19,734 --> 00:21:21,287
would be more effective
340
00:21:21,289 --> 00:21:23,028
when you use horizontal wide.
341
00:21:28,261 --> 00:21:30,725
Let's use the character on the top left.
342
00:21:30,811 --> 00:21:33,699
This character has a big silhouette,
343
00:21:33,701 --> 00:21:36,593
and a tentacle in the back.
344
00:21:36,595 --> 00:21:39,121
So we can use this octopus tentacle
345
00:21:39,123 --> 00:21:40,397
to use the screen like a linear element.
346
00:21:40,500 --> 00:21:42,937
In a way,
347
00:21:42,938 --> 00:21:46,323
the concept might overlap with the character we used before.
348
00:21:46,506 --> 00:21:48,870
The previous character was set in a deep-sea setting,
349
00:21:48,871 --> 00:21:51,237
but this one is based on Cthulu.
350
00:22:12,074 --> 00:22:14,913
The one on the left has a tentacle,
351
00:22:14,914 --> 00:22:16,791
so you can't help but look at it.
352
00:22:17,206 --> 00:22:19,722
So, it's a fun topic when it comes to composition.
353
00:22:28,585 --> 00:22:31,412
Our gaze moves from left to right,
354
00:22:31,515 --> 00:22:33,266
so I'll place the character to the left,
355
00:22:33,267 --> 00:22:34,524
and using that monster's hand,
356
00:22:34,717 --> 00:22:36,196
the big hand,
357
00:22:36,197 --> 00:22:37,988
I'm going to make the gaze move to the right.
358
00:22:38,904 --> 00:22:40,695
I'll apply a high angle
359
00:22:40,696 --> 00:22:42,536
to give it a loose personality.
360
00:22:42,538 --> 00:22:45,136
It also looks a bit sexy.
361
00:22:45,137 --> 00:22:47,353
So, instead of giving it big movements,
362
00:22:47,354 --> 00:22:48,513
I'm going to make it sit down.
363
00:22:49,266 --> 00:22:52,115
I think it'd be nice to make it look voluptuous.
364
00:22:53,517 --> 00:22:55,720
And if the overall silhouette of the character is set,
365
00:22:55,721 --> 00:22:57,169
you can edit the rest of the gaze flow
366
00:22:57,170 --> 00:22:58,493
using those tentacles,
367
00:22:58,494 --> 00:23:01,010
using the linear elements.
368
00:23:06,688 --> 00:23:08,530
So, let's arrange it.
369
00:23:15,988 --> 00:23:18,567
I turned its head to the right.
370
00:23:18,569 --> 00:23:20,913
It's to express its gaze.
371
00:23:30,498 --> 00:23:32,209
The angle is a bit tilted.
372
00:23:32,210 --> 00:23:34,357
So, we can say that a low angle is applied to the character.
373
00:23:34,358 --> 00:23:35,582
If you do it like this,
374
00:23:35,783 --> 00:23:37,908
the gaze will be more spread out.
375
00:23:38,148 --> 00:23:40,312
So there are the low, mid, and high angles applied.
376
00:23:40,903 --> 00:23:43,181
As the gaze is focused on the face,
377
00:23:43,182 --> 00:23:45,784
the main element that you show will be the face area.
378
00:23:46,717 --> 00:23:47,976
Since there are elements like monster arms,
379
00:23:47,979 --> 00:23:50,485
it's not easy to focus on one thing,
380
00:23:50,503 --> 00:23:52,441
so I did this
381
00:23:52,442 --> 00:23:55,605
to make the viewer's gaze focus on the face.
382
00:23:59,508 --> 00:24:02,434
For casual characters, the face is important.
383
00:24:04,000 --> 00:24:06,370
Since the face is important,
384
00:24:06,371 --> 00:24:07,695
artists tend to make a composition
385
00:24:07,698 --> 00:24:09,279
where the character's face is the focus.
386
00:24:13,711 --> 00:24:16,423
I'll try to make it so that you can't see the face well later.
387
00:24:27,950 --> 00:24:31,014
As it has a sexy impression overall,
388
00:24:32,058 --> 00:24:34,899
I'll make the eyebrows closer than I previously designed.
389
00:24:52,399 --> 00:24:54,013
So, let's compose the screen.
390
00:24:55,817 --> 00:24:58,143
I'll make the character's hair blow in the air a bit.
391
00:24:58,144 --> 00:24:59,995
I'll also split it into small pieces.
392
00:25:00,579 --> 00:25:02,316
So, I can add a sexy vibe.
393
00:25:03,124 --> 00:25:06,041
The less you split the hair, the cuter it becomes.
394
00:25:06,042 --> 00:25:10,103
The more you split it, the more sexy or serious it becomes.
395
00:25:10,400 --> 00:25:11,727
Remember that.
396
00:25:25,412 --> 00:25:28,405
In this case, it's good to cover one eye of the character.
397
00:25:30,609 --> 00:25:31,609
The character's eyes
398
00:25:31,610 --> 00:25:33,981
are where the deformers are applied the most.
399
00:25:33,982 --> 00:25:36,345
So, the more you reveal them,
400
00:25:36,346 --> 00:25:38,291
the more it becomes casual.
401
00:25:38,292 --> 00:25:39,489
To put it the other way around,
402
00:25:39,490 --> 00:25:41,300
when the eyes are covered,
403
00:25:41,302 --> 00:25:43,605
or when the eyes look realistic,
404
00:25:45,173 --> 00:25:48,346
the more you do that, because of the eye shape,
405
00:25:48,348 --> 00:25:49,992
it reduces the total amount of deformers.
406
00:25:49,993 --> 00:25:52,074
In other words, it becomes
407
00:25:52,075 --> 00:25:53,519
a more realistic style.
408
00:25:54,392 --> 00:25:56,903
That means when you give it a sexy vibe like now,
409
00:25:56,904 --> 00:25:59,205
it has some influence.
410
00:26:07,008 --> 00:26:11,535
It's better to cover one eye like this
411
00:26:11,536 --> 00:26:14,084
when you add a sexy mood to your character.
412
00:26:32,987 --> 00:26:35,919
As the design highlights the breasts,
413
00:26:36,116 --> 00:26:38,207
I'm going to make them stand out more.
414
00:27:19,478 --> 00:27:26,505
I'll draw a monster's arm at the bottom.
415
00:27:26,618 --> 00:27:28,704
I'll make the body area sit down, too.
416
00:27:29,656 --> 00:27:33,571
It makes you feel like it's sitting on the floor.
417
00:27:34,153 --> 00:27:37,484
Especially if there are long parts like hair,
418
00:27:37,487 --> 00:27:39,687
by letting them fall on the floor,
419
00:27:39,712 --> 00:27:42,233
you can show the perspective applied to the floor.
420
00:27:42,258 --> 00:27:44,078
Even though I drew the character at a high angle,
421
00:27:44,081 --> 00:27:45,771
it doesn't look like a high angle.
422
00:27:45,772 --> 00:27:47,565
The character can float in the air
423
00:27:47,590 --> 00:27:49,073
and if it's posing in the air,
424
00:27:49,074 --> 00:27:51,140
I can't tell if it's a low or high angle.
425
00:27:52,316 --> 00:27:54,305
Then, to show that this character has a high angle
426
00:27:54,308 --> 00:27:56,133
and to make you feel like it's sitting on the floor,
427
00:27:56,158 --> 00:27:57,904
it's most effective to show the floor.
428
00:27:58,184 --> 00:28:00,420
So, you can show that
429
00:28:00,422 --> 00:28:02,823
a character is in a certain background
430
00:28:03,188 --> 00:28:05,624
by changing the perspective of the objects
431
00:28:05,625 --> 00:28:06,727
so that they match the perspective of the floor.
432
00:28:07,227 --> 00:28:08,344
So, you'll put in elements
433
00:28:08,347 --> 00:28:10,916
that show the character's background indirectly.
434
00:28:12,322 --> 00:28:13,492
You can use things like a lamp.
435
00:28:13,493 --> 00:28:16,719
It's important to apply perspective to them.
436
00:28:17,714 --> 00:28:20,784
So, if you use a wide-angle perspective like this,
437
00:28:20,793 --> 00:28:22,385
I think it'll be the most effective
438
00:28:22,386 --> 00:28:23,566
to show the character's space.
439
00:28:25,016 --> 00:28:26,901
Because it has a strong impression,
440
00:28:26,903 --> 00:28:29,343
instead of using a linear perspective,
441
00:28:29,345 --> 00:28:31,704
I'll apply a wide-angle perspective or a convex lens perspective.
442
00:28:31,705 --> 00:28:33,320
Using this kind of perspective
443
00:28:33,323 --> 00:28:35,158
will make it easier to compose the canvas.
444
00:28:36,905 --> 00:28:38,910
It happens to be close to the viewer, too.
445
00:28:39,587 --> 00:28:41,807
I told you previously that it helps a lot when setting the space
446
00:28:41,832 --> 00:28:43,828
if objects from a close-range view and a distant view are added together.
447
00:28:55,985 --> 00:28:58,642
For this hand, I'll stretch it out a little bit.
448
00:28:58,935 --> 00:29:00,504
Using this hand,
449
00:29:00,584 --> 00:29:02,304
I'm going to draw the viewer's attention to the character
450
00:29:02,329 --> 00:29:04,924
since this finger can look like an arrow.
451
00:29:04,925 --> 00:29:06,011
I'll use this
452
00:29:06,012 --> 00:29:07,518
to keep drawing attention.
453
00:29:11,985 --> 00:29:13,790
With the other side here,
454
00:29:13,792 --> 00:29:15,448
you have to spread the gaze out.
455
00:29:15,449 --> 00:29:17,055
Remember that the gaze flows this way?
456
00:29:17,232 --> 00:29:20,286
If you put this in while the gaze flows,
457
00:29:20,287 --> 00:29:22,069
the drawing might look a bit stuffy.
458
00:29:22,071 --> 00:29:23,998
All gazes go inwards, right?
459
00:29:24,077 --> 00:29:26,515
It's okay to spread one out.
460
00:29:26,540 --> 00:29:28,125
Then with the hands-on this side
461
00:29:28,205 --> 00:29:29,709
we can make the fingers face outwards.
462
00:29:34,714 --> 00:29:37,280
Like this, we can think of the gaze.
463
00:29:37,891 --> 00:29:40,228
Think of how the viewer's gaze would flow.
464
00:30:01,725 --> 00:30:04,572
On this side, raise a finger like this
465
00:30:05,619 --> 00:30:06,890
to give off a strong vibe.
466
00:30:06,891 --> 00:30:10,201
At the same time, as an element that draws attention to the character's face,
467
00:30:27,910 --> 00:30:30,805
split the hair as small as possible.
468
00:30:32,915 --> 00:30:35,419
To make this hair look more realistic,
469
00:30:35,420 --> 00:30:37,833
it's okay to give connections between the things around it.
470
00:30:37,837 --> 00:30:40,720
Like this, the hair could go on the fingernails,
471
00:30:43,090 --> 00:30:45,371
or make the hair hang on
472
00:30:45,372 --> 00:30:47,002
the objects around it.
473
00:30:47,027 --> 00:30:48,693
If you do this,
474
00:30:48,718 --> 00:30:51,290
the hair will look much more natural
475
00:30:51,291 --> 00:30:52,313
on our head.
476
00:30:53,829 --> 00:30:56,115
It looks like that from the viewer's perspective.
477
00:30:59,912 --> 00:31:01,612
Using these tentacles,
478
00:31:03,422 --> 00:31:05,422
you can add them to the overall gaze.
479
00:31:13,065 --> 00:31:14,201
Even the perspective of the floor
480
00:31:14,203 --> 00:31:15,948
can be shown indirectly.
481
00:31:21,845 --> 00:31:23,431
If it's a wide canvas,
482
00:31:23,432 --> 00:31:25,795
you'll be able to see that the overall space widens
483
00:31:25,820 --> 00:31:27,339
compared to the two illustrations
484
00:31:27,341 --> 00:31:30,683
that I drew before.
485
00:31:35,242 --> 00:31:37,400
So, I think it's better
486
00:31:37,401 --> 00:31:39,813
to use a wide canvas than a tall one
487
00:31:39,886 --> 00:31:41,286
to add a strong feeling
488
00:31:41,311 --> 00:31:42,519
like a serious mood
489
00:31:42,544 --> 00:31:44,405
or a grandiose mood.
490
00:31:44,407 --> 00:31:46,514
It would be more appropriate.
491
00:32:08,692 --> 00:32:11,658
So, now I have an illustration with a wide canvas.
492
00:32:12,878 --> 00:32:14,602
Even a voluptuous atmosphere
493
00:32:26,307 --> 00:32:28,567
has a serious vibe.
494
00:32:28,568 --> 00:32:31,031
So, it would work better if the hair was divided into small parts.
495
00:32:35,560 --> 00:32:37,346
So, among mature characters,
496
00:32:37,347 --> 00:32:39,024
I'm sure you've seen characters like this before.
497
00:32:39,025 --> 00:32:40,822
You might have seen characters with bangs.
498
00:32:41,532 --> 00:32:43,493
This kind of character eventually
499
00:32:43,494 --> 00:32:46,131
covers their face, which has a lot of deformers applied to it.
500
00:32:46,515 --> 00:32:49,334
And, its thin hair
501
00:32:49,336 --> 00:32:50,913
makes the hair dimensions smaller.
502
00:32:50,915 --> 00:32:52,165
So, it will look mature.
503
00:32:52,166 --> 00:32:54,181
Understand it that way.
504
00:33:10,192 --> 00:33:12,290
I'll continue to compose the canvas like this.
505
00:33:14,808 --> 00:33:17,914
Now, let's practice placing multiple characters.
506
00:33:21,634 --> 00:33:22,967
Let's use these.
507
00:33:23,162 --> 00:33:26,031
Using these two Egyptian characters,
508
00:33:26,032 --> 00:33:28,638
let's review how to compose multiple characters.
509
00:33:28,639 --> 00:33:29,659
When we have multiple characters,
510
00:33:29,662 --> 00:33:32,002
there's already a lot of information.
511
00:33:32,293 --> 00:33:33,929
It's because we already have a lot of characters.
512
00:33:34,017 --> 00:33:36,040
So, it's good to think at this point
513
00:33:36,041 --> 00:33:37,831
whether you want a tall canvas or a wide canvas.
514
00:33:37,987 --> 00:33:39,501
If you want to show two elements
515
00:33:39,504 --> 00:33:41,727
in a relaxed way,
516
00:33:41,728 --> 00:33:43,114
a wide canvas would be perfect.
517
00:33:44,115 --> 00:33:45,610
If you want to make the screen look full,
518
00:33:45,611 --> 00:33:48,112
by using two elements,
519
00:33:48,115 --> 00:33:50,539
a tall canvas would be better.
520
00:33:51,798 --> 00:33:55,633
This time, I'll make a wide canvas.
521
00:33:58,609 --> 00:34:00,323
Since I made two illustrations with a tall canvas,
522
00:34:02,701 --> 00:34:05,212
if it's too long on one side,
523
00:34:05,214 --> 00:34:07,141
it could look too formal.
524
00:34:07,395 --> 00:34:09,475
So I'll make it vertically taller a bit.
525
00:34:13,510 --> 00:34:16,464
Setting the canvas size would be included in the composition stage.
526
00:34:16,770 --> 00:34:18,541
Never forget that when you create an illustration,
527
00:34:18,566 --> 00:34:20,346
you're not composing the character itself,
528
00:34:20,348 --> 00:34:22,468
but rather composing the canvas itself.
529
00:34:23,239 --> 00:34:25,129
And overall, what kind of mood will it give?
530
00:34:25,130 --> 00:34:26,288
Let's think about it.
531
00:34:26,289 --> 00:34:29,052
When I designed
532
00:34:29,054 --> 00:34:31,075
these two characters,
533
00:34:31,100 --> 00:34:33,970
I wanted this one to look like an escort,
534
00:34:33,995 --> 00:34:35,193
while this one on the top
535
00:34:35,194 --> 00:34:37,880
would look like a princess.
536
00:34:38,875 --> 00:34:42,189
The guys on both sides are escorts
537
00:34:42,223 --> 00:34:43,254
and the one on the top,
538
00:34:43,255 --> 00:34:46,022
she's like a tomboy princess.
539
00:34:46,023 --> 00:34:48,903
To show their characteristics,
540
00:34:49,210 --> 00:34:51,112
what kind of concept would fit them?
541
00:34:51,407 --> 00:34:53,120
Let's think about it.
542
00:34:54,309 --> 00:34:56,990
Let's say we're placing three characters inside,
543
00:34:56,991 --> 00:34:58,332
including the Anubis character in the back.
544
00:34:58,400 --> 00:34:59,693
While organizing it like that,
545
00:34:59,718 --> 00:35:01,011
let's make a wide canvas
546
00:35:01,036 --> 00:35:02,826
to show off each character's personality.
547
00:35:02,851 --> 00:35:04,648
I think it'd be good to
548
00:35:04,673 --> 00:35:06,644
show a character who is running wild
549
00:35:06,647 --> 00:35:08,416
while the other two characters are watching calmly.
550
00:35:08,441 --> 00:35:10,353
The overall mood is,
551
00:35:10,354 --> 00:35:12,292
since there are three characters,
552
00:35:12,293 --> 00:35:14,765
I don't want it to feel too chaotic.
553
00:35:14,880 --> 00:35:16,375
So in this illustration,
554
00:35:16,377 --> 00:35:17,637
I'm going to use the triangular composition
555
00:35:17,662 --> 00:35:19,886
to give it a calm impression.
556
00:35:20,312 --> 00:35:22,122
I talked about various silhouettes
557
00:35:22,124 --> 00:35:24,664
such as the triangle, the diamond, and the 8-shaped composition.
558
00:35:24,665 --> 00:35:27,691
And they're being used here, too.
559
00:35:28,109 --> 00:35:30,995
The character impression changes
560
00:35:30,996 --> 00:35:33,502
depending on whether there are a lot of elements
561
00:35:33,527 --> 00:35:35,831
at the top or the bottom.
562
00:35:35,833 --> 00:35:37,100
That's what you should think about
563
00:35:37,102 --> 00:35:38,651
when you're composing the canvas.
564
00:35:44,450 --> 00:35:46,716
I'm going to use a low angle.
565
00:35:47,711 --> 00:35:49,415
The reason why I use a low angle is
566
00:35:49,416 --> 00:35:51,461
because it is appropriate to
567
00:35:51,462 --> 00:35:52,986
contain a large area.
568
00:35:53,494 --> 00:35:56,675
If you apply a middle angle, it will feel too flat.
569
00:35:56,982 --> 00:35:59,948
So, if it is an illustration with a large space,
570
00:35:59,950 --> 00:36:02,125
it'd be nice to approach it with a low angle.
571
00:36:02,205 --> 00:36:03,739
But that doesn't mean
572
00:36:03,741 --> 00:36:06,478
the perspective will look extremely awkward.
573
00:36:06,480 --> 00:36:08,220
If you place it in an awkward angle,
574
00:36:08,221 --> 00:36:09,576
there will be more information,
575
00:36:09,577 --> 00:36:10,879
and the illustration will become complicated.
576
00:36:10,880 --> 00:36:12,933
I said I'd make it look calm, remember.
577
00:36:13,529 --> 00:36:18,475
So, as I work, I'll be aware of that.
578
00:36:18,476 --> 00:36:19,602
So, let's begin.
579
00:36:21,712 --> 00:36:23,416
The overall situation is,
580
00:36:23,685 --> 00:36:25,504
the character on the left...
581
00:36:25,505 --> 00:36:26,974
let's have the character in the middle
582
00:36:26,975 --> 00:36:28,312
lay down on its legs.
583
00:36:34,092 --> 00:36:36,904
The character in the middle is lying down like this
584
00:36:56,100 --> 00:36:57,819
and it's lifting its legs up like this.
585
00:36:59,263 --> 00:37:01,014
It's kind of joking around
586
00:37:09,192 --> 00:37:11,862
and to show its unique sleeves,
587
00:37:11,880 --> 00:37:13,758
I'll lift its arms up.
588
00:37:13,987 --> 00:37:17,228
Then, I can show the sleeves that droop inwards.
589
00:37:32,558 --> 00:37:35,869
Behind this character, I'll place the halo to its left.
590
00:37:36,066 --> 00:37:37,074
But,
591
00:37:37,075 --> 00:37:39,257
you have to think about whether to place the halo or not.
592
00:37:39,258 --> 00:37:40,602
From the moment the halo goes in,
593
00:37:40,603 --> 00:37:42,770
it becomes an 8-shaped composition, and the illustration will look more sacred.
594
00:37:42,771 --> 00:37:44,986
Then the character on the left will draw attention
595
00:37:45,521 --> 00:37:47,304
because people's gaze will head towards there.
596
00:37:47,305 --> 00:37:48,456
But if it bothers you too much,
597
00:37:48,459 --> 00:37:50,210
it might be better to take this out.
598
00:37:50,219 --> 00:37:52,578
Because the most critical part that I want to show you is
599
00:37:52,579 --> 00:37:53,829
all of these characters,
600
00:37:53,830 --> 00:37:56,296
so this is the part that needs to be seen.
601
00:37:56,297 --> 00:37:57,308
The central part.
602
00:37:57,596 --> 00:38:00,370
Not the top left, but the center,
603
00:38:00,395 --> 00:38:02,221
so the ring on this side may distract it.
604
00:38:02,865 --> 00:38:06,344
You can take it out so that you can't see it well,
605
00:38:06,438 --> 00:38:09,312
or you can change the color,
606
00:38:09,313 --> 00:38:10,923
or you can just take it out.
607
00:38:10,992 --> 00:38:12,734
You'll have to set it up depending on the situation.
608
00:38:14,780 --> 00:38:17,423
The Anubis character in the back,
609
00:38:17,424 --> 00:38:20,012
if you place it in a specific part, it looks more detailed.
610
00:38:20,013 --> 00:38:21,666
Compared to the ones in front,
611
00:38:21,667 --> 00:38:23,934
since it's so detailed,
612
00:38:23,935 --> 00:38:26,852
it could stand out more than the main element.
613
00:38:27,896 --> 00:38:31,397
That's why this character has the backside,
614
00:38:39,432 --> 00:38:41,536
and move the distance back,
615
00:38:52,346 --> 00:38:54,636
to make some distance between the two characters in the front.
616
00:38:54,645 --> 00:38:56,840
We can do it in a distant view.
617
00:39:21,160 --> 00:39:22,637
Whenever I compose the thumbnail,
618
00:39:22,638 --> 00:39:24,403
rather than adding details,
619
00:39:25,348 --> 00:39:27,744
just to get the overall mood,
620
00:39:34,812 --> 00:39:36,215
using the background
621
00:39:36,216 --> 00:39:40,196
indirectly creates silhouettes that surround the character.
622
00:39:44,220 --> 00:39:46,327
Let's draw the 2nd sketch for this one.
623
00:40:50,200 --> 00:40:53,169
Since the first sketch wasn't in detail,
624
00:40:53,170 --> 00:40:55,915
you have to fix the glitches a lot in the 2nd sketch.
625
00:40:59,332 --> 00:41:01,144
The more complicated the information it has is,
626
00:41:01,145 --> 00:41:03,320
the more the level of difficulty tends to go up.
627
00:41:04,627 --> 00:41:05,967
At times like that,
628
00:41:05,968 --> 00:41:07,823
we need to spend more time on the 1st sketch.
629
00:41:08,424 --> 00:41:10,785
In this case, since it's a demonstration,
630
00:41:10,786 --> 00:41:12,110
I need to just show it quickly.
631
00:41:12,111 --> 00:41:15,487
That's why I didn't put much effort into it.
632
00:41:15,512 --> 00:41:19,008
But if you have to draw a complicated character,
633
00:41:20,266 --> 00:41:23,080
from your own standard,
634
00:41:23,081 --> 00:41:25,154
spend more time on the 1st sketch.
635
00:41:25,179 --> 00:41:26,688
At that point,
636
00:41:26,689 --> 00:41:29,469
fix a lot of glitches before you move on.
637
00:41:30,100 --> 00:41:33,415
In a way, you can think of it as making a 1.5 sketch.
638
00:41:34,295 --> 00:41:37,023
If it's hard to sketch, divide it into the levels.
639
00:42:14,603 --> 00:42:17,109
To show off its youthful body,
640
00:42:19,285 --> 00:42:21,308
I added something fun.
641
00:42:21,311 --> 00:42:22,886
If you look at the body part of the character on the left...
642
00:42:24,285 --> 00:42:25,679
If you look at the creases,
643
00:42:25,680 --> 00:42:27,136
the creases that go up and down
644
00:42:27,139 --> 00:42:28,742
are placed all over.
645
00:42:29,312 --> 00:42:31,817
The fact that there are vertical creases rather than horizontal ones
646
00:42:31,818 --> 00:42:33,578
means that the outfit is very loose.
647
00:42:33,579 --> 00:42:35,223
This loose outfit
648
00:42:35,237 --> 00:42:37,857
gives the character a more youthful vibe.
649
00:42:40,025 --> 00:42:41,815
If this outfit
650
00:42:42,504 --> 00:42:45,401
has a lot of horizontal creases and is tight,
651
00:42:45,402 --> 00:42:47,656
the character would look much less young.
652
00:42:48,078 --> 00:42:50,333
On the other hand, it would have a sexy vibe.
653
00:42:54,088 --> 00:42:57,015
But create vertical creases around it
654
00:42:57,670 --> 00:43:00,482
and the character will naturally look younger.
655
00:43:03,429 --> 00:43:05,759
Depending on the direction of the viewer's gaze,
656
00:43:05,761 --> 00:43:07,425
the impression always changes.
657
00:43:08,179 --> 00:43:10,701
There are so many things you can use
658
00:43:11,171 --> 00:43:12,891
such as the creases on clothes and the clothing's design.
659
00:43:19,785 --> 00:43:22,712
In the end, the key point is the gaze.
660
00:43:46,929 --> 00:43:48,877
So that it looks like the arms are leaning back,
661
00:43:48,878 --> 00:43:50,829
I'm going to tilt them towards the outside.
662
00:43:56,385 --> 00:43:58,516
You need to draw the characters in the back, too.
663
00:44:05,918 --> 00:44:07,617
As we drew multiple characters,
664
00:44:07,618 --> 00:44:08,979
each character's face
665
00:44:08,981 --> 00:44:10,960
can become the main element.
666
00:44:11,211 --> 00:44:13,362
If we say the part where the attention is focused
667
00:44:13,365 --> 00:44:14,683
is the center,
668
00:44:14,692 --> 00:44:17,641
it's also a good idea to use the direction of the characters' gaze.
669
00:44:22,488 --> 00:44:24,512
If the character
670
00:44:29,424 --> 00:44:30,425
looks at the bottom,
671
00:44:31,234 --> 00:44:34,109
even when people naturally look at the face on the left
672
00:44:34,117 --> 00:44:37,093
their gaze would head to the bottom right naturally.
673
00:44:37,690 --> 00:44:40,387
So when it comes to facial expressions,
674
00:44:40,728 --> 00:44:42,857
you can connect the gazes
675
00:44:42,858 --> 00:44:44,812
by setting what direction the characters are looking towards.
676
00:45:22,079 --> 00:45:24,116
Since a low angle is applied to the chest,
677
00:45:32,994 --> 00:45:35,123
I'm going to draw the outlines while thinking of that.
678
00:45:47,014 --> 00:45:49,568
If the metal part of the hand
679
00:45:49,569 --> 00:45:53,286
is too revealing, it can stand out.
680
00:45:53,479 --> 00:45:55,883
You can make the character hold the arm of the character in front of it.
681
00:45:56,128 --> 00:46:00,031
So, let's give them a basic situation and show them little by little.
682
00:46:27,113 --> 00:46:29,217
I'll make the hair droop
683
00:46:29,218 --> 00:46:30,847
to make the triangular silhouette
684
00:46:30,850 --> 00:46:32,924
a bit more evident.
685
00:46:57,628 --> 00:47:00,320
I'm going to draw the Anubis character in the back.
686
00:47:21,318 --> 00:47:23,366
So, you can now compose a canvas
687
00:47:23,367 --> 00:47:24,423
with multiple characters in it.
688
00:47:25,689 --> 00:47:27,585
When placing multiple characters,
689
00:47:27,610 --> 00:47:30,143
it's important to place the bodies so that
690
00:47:30,168 --> 00:47:31,187
the gaze would be connected.
691
00:47:31,849 --> 00:47:33,668
Then, you can show a conflict
692
00:47:33,693 --> 00:47:35,064
or an overlapping composition.
693
00:47:35,080 --> 00:47:38,545
This picture will be overlapped in some way.
694
00:47:40,983 --> 00:47:41,993
So...
695
00:47:42,605 --> 00:47:44,320
The gazes should be placed
696
00:47:44,337 --> 00:47:47,103
so that they are connected naturally.
697
00:47:48,104 --> 00:47:49,396
That way, from the perspective of the viewer,
698
00:47:49,398 --> 00:47:51,011
as much the gaze flows smoothly,
699
00:47:51,012 --> 00:47:52,477
the overall mood of the illustration
700
00:47:52,478 --> 00:47:53,724
would flow smoothly.
701
00:47:54,906 --> 00:47:56,444
So the illustration wouldn't be messy.
702
00:47:57,797 --> 00:48:00,667
If it doesn't work out well, our eyes will be distracted
703
00:48:00,692 --> 00:48:02,920
and the whole illustration will look noisy.
704
00:48:03,695 --> 00:48:05,057
It will be so complicated
705
00:48:05,195 --> 00:48:07,214
that viewers won't be able to concentrate well.
706
00:48:07,325 --> 00:48:09,449
It's essential to make these kinds of gazes focused.
707
00:48:09,598 --> 00:48:11,826
It'd be nice if there were elements in the close-range view.
708
00:48:12,413 --> 00:48:14,617
Like this, maybe add some food in it,
709
00:48:19,905 --> 00:48:22,658
or you can add fruits like grapes.
710
00:48:22,659 --> 00:48:23,688
Depending on the color,
711
00:48:25,734 --> 00:48:29,505
the background is also an element that attracts the attention of the character,
712
00:48:33,408 --> 00:48:36,358
so that each ** can be connected flexibly.
713
00:48:36,359 --> 00:48:37,405
By processing it like that,
714
00:48:38,053 --> 00:48:41,133
we can compose a screen with multiple numbers.
715
00:48:55,336 --> 00:48:57,314
When we compose the screen,
716
00:48:57,315 --> 00:49:00,584
it's important to look at what you learned before,
717
00:49:00,586 --> 00:49:02,795
but what I care about the most in the illustration is,
718
00:49:03,262 --> 00:49:06,079
what I want to emphasize the most to the students is,
719
00:49:06,080 --> 00:49:08,055
in the end, for the current illustration,
720
00:49:08,057 --> 00:49:10,301
what you wanted to show.
721
00:49:11,329 --> 00:49:14,852
And after that, you need to make sure,
722
00:49:14,854 --> 00:49:16,752
whether you achieved what you intended by doing self-feedback.
723
00:49:16,777 --> 00:49:19,476
The first character on the left has a cute mood,
724
00:49:19,501 --> 00:49:21,811
with a bit of the fluffy feeling.
725
00:49:23,095 --> 00:49:25,519
Did you get the feeling of wool?
726
00:49:26,434 --> 00:49:28,176
Since it doesn't feel like wool,
727
00:49:28,177 --> 00:49:29,852
you can add a fleece vibe to this,
728
00:49:33,230 --> 00:49:36,514
or, since this shoulder is far away, it looks calm,
729
00:49:36,516 --> 00:49:38,478
so to make the character look cuter,
730
00:49:38,480 --> 00:49:42,834
what if we tighten this shoulder like this
731
00:49:42,928 --> 00:49:44,976
to make it closer to the character?
732
00:49:44,977 --> 00:49:46,450
I added some cuteness.
733
00:49:48,095 --> 00:49:49,397
It works the same for this hand.
734
00:49:49,398 --> 00:49:51,702
By placing the surrounding elements as close as possible,
735
00:49:52,455 --> 00:49:54,568
you can add to the cuteness of the character.
736
00:49:54,999 --> 00:49:57,360
This one does have a calm vibe,
737
00:49:57,491 --> 00:50:00,693
but the overall balance of the screen might not have been right.
738
00:50:00,888 --> 00:50:02,710
I'm going to flip it over once.
739
00:50:02,883 --> 00:50:05,825
Since the dark areas are only focused on the upper left,
740
00:50:06,105 --> 00:50:07,639
it looks a bit unstable.
741
00:50:07,819 --> 00:50:09,463
To get rid of this feeling,
742
00:50:09,464 --> 00:50:11,914
I'm going to change the shape of the wing on this side,
743
00:50:13,504 --> 00:50:15,404
to make it flow outwards like this,
744
00:50:17,077 --> 00:50:19,218
to balance the screen.
745
00:50:20,485 --> 00:50:22,266
After you do this,
746
00:50:22,268 --> 00:50:25,002
I hope you do some self-feedback like this.
747
00:50:25,003 --> 00:50:27,900
Usually, the screen being arranged
748
00:50:27,925 --> 00:50:29,466
in a pretty way is very ideal,
749
00:50:29,491 --> 00:50:30,891
but many times, it doesn't work.
750
00:50:31,512 --> 00:50:33,560
So, it's okay, even if that occurs many times.
751
00:50:33,561 --> 00:50:34,748
You can check it twice or three times
752
00:50:34,773 --> 00:50:37,394
through self-feedback in the middle of the process.
753
00:50:37,419 --> 00:50:39,837
At that point, by giving yourself feedback,
754
00:50:39,989 --> 00:50:41,676
you should keep thinking about
755
00:50:41,749 --> 00:50:44,309
whether drawing it at a different angle
756
00:50:44,312 --> 00:50:46,210
would be prettier
757
00:50:46,235 --> 00:50:48,079
or whether it would be better to twist the characters around.
758
00:50:48,796 --> 00:50:52,011
Then, the canvas could look better.
759
00:50:52,408 --> 00:50:54,050
By repeating that process
760
00:50:54,052 --> 00:50:58,531
you should be aware of the composition of the canvas
761
00:50:58,556 --> 00:51:01,299
by continuously doing it.
762
00:51:01,324 --> 00:51:03,552
So that your muscle memory
763
00:51:03,577 --> 00:51:06,227
would keep improving.
764
00:51:09,138 --> 00:51:10,657
Please change your perception.
765
00:51:10,658 --> 00:51:11,771
If you are still thinking about
766
00:51:11,772 --> 00:51:14,450
the character's pose,
767
00:51:14,451 --> 00:51:15,458
if you're doing that,
768
00:51:15,459 --> 00:51:16,480
leave it for the future.
769
00:51:16,481 --> 00:51:18,454
You have to think about the poses later on.
770
00:51:19,894 --> 00:51:21,146
The first thing that's important is
771
00:51:21,171 --> 00:51:24,441
how you're going to express the character,
772
00:51:24,442 --> 00:51:27,314
and whether the screen itself has a lot of things placed on the bottom
773
00:51:27,317 --> 00:51:29,009
or the top of the screen,
774
00:51:29,010 --> 00:51:31,160
you have to think about these things first.
775
00:51:31,185 --> 00:51:33,203
The poses come after that.
776
00:51:34,038 --> 00:51:36,202
We're done here for today.
777
00:51:36,203 --> 00:51:38,935
This is the end of today's bonus chapter.
778
00:51:39,042 --> 00:51:40,815
I hope you enjoyed it.
779
00:51:40,840 --> 00:51:42,159
Thank you for your attention.
57368
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