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Hello.
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This is the last chapter of Section 3.
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Today, we'll learn about coloring.
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In the previous lectures of Section 3,
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we learned how to direct the gaze.
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We also learned
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how to use the silhouette
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and learned how to further direct the gaze.
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We also utilized those things
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to design a character.
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Now, in Sections 4 and 5,
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we're going to draw an illustration based on a character design.
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To do so, you need to understand lighting.
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So, I have included this chapter.
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Actually, lighting is a very logical concept
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and you need to know a lot of theories.
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So, it is a bit difficult to understand this concept well.
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But, being logical means
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there aren't a lot of variables to it.
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So, once you've grasped this concept,
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you can apply it to colors as well.
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So, there are color palettes that people like.
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If you memorize those palettes,
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or if you simply familiarize yourself with them,
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you can use them to create different kinds of
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illustrations.
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So, before we learn coloring,
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there's something we need to know in advance.
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We need to know about the amount of information.
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Actually, this concept doesn't just apply to the lighting.
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It applies to all other theories as well.
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For example, the amount of information could include
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things like
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if a character's face is detailed
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or not.
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We can also question if the coloring is detailed or simple.
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We can also ask if the design is simple or not,
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or if there are a lot of sub elements.
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The amount of information
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is like the seasoning on food.
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So, the quantity doesn't guarantee quality.
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You should put in the right amount for your illustration.
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However, I should say that
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there should be at least some amount of information.
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Unlike animations or comics,
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with illustrations, you need to look at a piece for a long time.
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So, we need some amount of information
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in a piece of drawing
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so that the viewers can actually enjoy it.
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So, how can we control it
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while we are learning coloring?
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Well, these are some of the elements we can control.
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We can control the saturation,
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the density,
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the contrast,
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and the hue.
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Usually, we would control these things.
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They have literal meanings.
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When you look at this Color Picker,
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the saturation would be
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the horizontal axis on here.
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The stronger it gets, the stronger the impression the color gives.
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If we see this baby pink color
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and this red color together,
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you can see the red much more easily.
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So, the red color would have more information.
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The density would be
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how dense the depiction is.
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Let's describe the left dot like this.
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And let's describe the right one like this.
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If there are a lot of colors like this,
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when we see the left and right dot together,
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the right one will be more eye-catching.
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So, it's one of the elements that help you
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control the amount of information.
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I actually described the contrast a bit previously,
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and for this example, I explained the density.
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If I just apply the density to this example,
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just doing this will make the right dot stand out more.
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I'll apply the contrast like I did before.
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When there's a higher amount of contrast,
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it will have a higher amount of information.
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The same with hues.
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If you have many different types of hues,
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for example, if this red color
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keeps on changing like this,
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the overall impression would be stronger
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compared to the one on the left.
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So, if we utilize this, we can control
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the amount of information in the coloring stage.
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Of course, in the drawing stage,
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you would control the amount of information.
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But, the coloring has to be in accordance with the drawing.
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So, when you modify the coloring,
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you use these to control the
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amount of information.
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This is the key point
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of the coloring theory that we're learning today.
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I said before that the amount of information
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is like adding spice.
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We say that a food is bland if there's no spice.
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But, if it becomes a bit more salty, we say
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that it is savory.
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If it becomes even more salty,
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we would think it's too salty.
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But, if the salty flavor itself
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is the main flavor, we would say it has
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just the right amount of salt.
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But if it becomes overly salty, we won't enjoy it.
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So, you can see that there's the right amount of seasoning when cooking.
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There are illustrations with little information
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that are easy to look at from the first glance.
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So, the coloring method for simple illustrations
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and the coloring method
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for more complex illustrations
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that are more detailed
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would be different.
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So, the composition you want to show
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would depend on how you create it.
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So, keep that in mind.
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Here, we have a lot of coloring methods.
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Depending on the lighting, the coloring style
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or the skin tone would change drastically.
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For example, the skin here
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and the skin here have very different colors.
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We have this information,
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but, actually, we can't learn it if we just look at it.
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So, let's get into the actual practice today.
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I have the same character from previous examples.
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I'm going to give it some lighting.
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I'll explain a lot of things,
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so let's move on!
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I'll use the Multiply Layer
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and clip it to the illustration.
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I previously mentioned that you can control the amount of information with coloring.
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This character has a very bland design.
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It's only wearing a swimsuit,
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so it looks bland.
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Later on, I'm going to dress up this character too.
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When you're coloring a bland character,
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and you want to make a strong impression,
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you can simply just do that.
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But if you want to also
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give a good impression to the viewers,
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you need to also increase the amount of information it has.
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Then, how can we increase it
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while we're coloring?
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We can control the light and shadows.
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The parts that are shadowy
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are called the dark areas.
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So, if there are more shadows,
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there would be more information.
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That is why
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if you want to emphasize the character's skin,
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it will be effective to just
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increase the amount of shadows.
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How would we do that?
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Should I give it light from the front?
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If I do that,
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the light would go to the character's side.
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Because it will go sideways,
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there won't be much shadow.
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So, this illustration would give a strong impression.
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That's not what we're aiming for.
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Then, you can set the direction of the light
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so that it would be more shadowy.
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Instead of putting light from the front,
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give it light from the top, the bottom
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or from the side. That's how it's normally done.
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If you give it light from the side,
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overall, it will look lonely,
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and we can give it more information.
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It's good to make the shadow wide in this process.
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I'll make one leg go backwards more.
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I'll apply a lot of shadows to it.
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Change the hues for each part
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so that it goes along with the other parts.
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I'll also adjust the contrast.
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If you want more information, increase the contrast,
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and if you want less information, decrease it.
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That's how you would balance the whole thing.
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If the color becomes lighter,
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there would be less information.
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Adjust the amount of information
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so that you get an illustration
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to your liking.
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That's how you control the amount of information in coloring.
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Depending on the amount of information you want to give,
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control the angle of the lighting
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to increase or decrease the shadows.
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You can additionally control the saturation, the contrast
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and the density of the shadows.
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Density means how much the elements are gathered together.
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If there are a lot of small shadows,
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the density would increase.
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If you split up the shadows
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or if you do this,
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you can see a clear difference from the previous one.
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Before,
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and after.
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If you look at it from far away, you'll see that
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the second one has a stronger first impression.
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So, when you want to give a lot of information to the viewers
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while still keeping the character design simple,
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you can increase the information through coloring.
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That's the key point of today's lecture.
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You can increase it even more drastically.
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Let's give it light from the top.
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If you do this dramatically,
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give light from the top like this,
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and increase the shadows as much as you can.
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The more shadows there are,
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the more information there should be,
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and with more information,
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the first impression will be stronger.
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Let's compare.
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Before,
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and after.
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You see the differences, right?
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At first glance, does the character make a strong impact?
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Or does it merge into the background
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and take some time to be recognizable?
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Be aware of these differences.
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So far, I told you how the amount of information changes
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depending on the lighting.
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Now, let's learn more theories about lighting.
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We're going to use light
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so we need to know what it's about.
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First, I'll give the definition
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of what light
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actually is.
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Light.
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There is light when
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we start perceiving an object.
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When we 'see' an object,
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we're not perceiving the object itself.
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We're perceiving it because
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we see the light bouncing off the object.
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So, when we see an object,
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light is an essential element.
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I just mentioned that objects reflect light.
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Let's find out about this.
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Basically, an object reflects light differently
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based on its color.
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For instance, let's say the sunlight is white.
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White light
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contains all the colors of light.
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On the other hand, when there's no color,
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there would be black light.
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So, all the colors are included in sunlight.
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What does that mean?
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Let's say a rainbow is formed here.
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The rainbow is here,
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and let's say the character has
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a yellow object.
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If it's a yellow object,
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what kind of light would it reflect?
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This object
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reflects yellow, just like its original color.
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Then, what happens to the other light colors?
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The object just absorbs it.
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What phenomenon happens because of this?
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You know when we have black shirts and white shirts,
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we would wear white shirts in summer?
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00:14:31,544 --> 00:14:32,483
Why do we do that?
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00:14:32,750 --> 00:14:36,277
Remember how the color white contains all colors?
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00:14:37,181 --> 00:14:38,110
That would mean
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00:14:38,135 --> 00:14:41,817
white objects reflect all colors.
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00:14:42,183 --> 00:14:45,742
Because it reflects more light, it absorbs less light
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00:14:45,767 --> 00:14:48,722
and when we wear it, we will feel much cooler.
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00:14:48,881 --> 00:14:53,119
On the other hand, black clothes absorb all light.
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That's why when we wear it, we will feel hot.
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00:14:56,592 --> 00:14:58,394
So, with white clothes and black clothes,
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00:14:58,419 --> 00:15:00,525
there's that kind of difference in heat.
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00:15:01,725 --> 00:15:04,970
So, now you understood that an object reflects light.
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It reflects light that has the same color as itself.
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00:15:07,458 --> 00:15:10,385
So, how can you utilize this in illustrations?
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Here, you need to be aware of
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00:15:13,717 --> 00:15:15,642
the background color.
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00:15:21,333 --> 00:15:24,356
When you're illustrating, you often need to
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00:15:24,381 --> 00:15:26,294
depict the background color well.
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00:15:26,319 --> 00:15:29,210
So, let's find out what it is.
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00:15:29,369 --> 00:15:32,438
The background color is the color of the background.
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00:15:32,463 --> 00:15:33,794
You can think of it as the color
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00:15:33,819 --> 00:15:36,306
of the air in the space.
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00:15:37,415 --> 00:15:39,770
Let's say a character is in a red room.
290
00:15:40,154 --> 00:15:41,533
If it is in a red room,
291
00:15:41,558 --> 00:15:43,175
what would the overall atmosphere be like?
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00:15:43,176 --> 00:15:45,095
Well, the character would look red.
293
00:15:45,097 --> 00:15:48,121
Just like when we go to a butcher shop.
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00:15:48,504 --> 00:15:50,479
But what happens if it's in a green room?
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00:15:50,504 --> 00:15:52,140
Everything would look green.
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00:15:52,474 --> 00:15:55,179
Then, we say the background color is green.
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00:15:55,537 --> 00:15:56,913
Then, let's see how
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00:15:56,938 --> 00:15:59,021
the background color would be applied.
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00:15:59,904 --> 00:16:01,866
Let's say there's an object.
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00:16:03,083 --> 00:16:04,452
I'll draw it as a circle.
301
00:16:04,477 --> 00:16:05,839
There's an object,
302
00:16:05,841 --> 00:16:07,658
and it is yellow this time.
303
00:16:13,590 --> 00:16:16,400
And right next to it, there's a blue object.
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00:16:18,933 --> 00:16:20,335
I'll explain it more in detail,
305
00:16:20,360 --> 00:16:23,406
but these two colors are complementary colors.
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00:16:25,096 --> 00:16:27,281
Complementary colors are
307
00:16:27,306 --> 00:16:30,452
on the opposite sides on the color wheel.
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00:16:30,677 --> 00:16:32,829
In other words, they are opposite colors.
309
00:16:33,004 --> 00:16:35,333
So, now that we have colored them,
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00:16:36,529 --> 00:16:39,015
we're going to give them lighting.
311
00:16:39,452 --> 00:16:41,059
I'm going to use the Overlay layer
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00:16:41,060 --> 00:16:42,498
to give them lighting.
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00:16:42,863 --> 00:16:44,847
I'm now going to give them yellow lighting.
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00:16:45,088 --> 00:16:47,000
Remember how yellow objects are yellow
315
00:16:47,025 --> 00:16:49,116
since they reflect yellow light?
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00:16:49,300 --> 00:16:52,400
Then, would the saturation be strong or weak
317
00:16:52,425 --> 00:16:54,273
if we give it yellow lighting?
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00:16:55,285 --> 00:16:56,706
When you give it yellow lighting,
319
00:16:56,872 --> 00:16:59,333
it will have a stronger saturation.
320
00:16:59,998 --> 00:17:02,044
If you see the Color Picker on the right,
321
00:17:02,069 --> 00:17:03,906
you can see that it goes to the top right.
322
00:17:04,673 --> 00:17:07,244
Going to the right means the saturation is getting stronger.
323
00:17:07,619 --> 00:17:08,819
Then, on the other hand,
324
00:17:08,994 --> 00:17:12,142
when there's yellow light,
325
00:17:12,167 --> 00:17:14,413
let's think of what would happen if there's yellow light
326
00:17:14,438 --> 00:17:15,435
on a blue object.
327
00:17:15,794 --> 00:17:18,548
Blue objects reflect blue light.
328
00:17:18,573 --> 00:17:19,794
So, that would mean,
329
00:17:19,819 --> 00:17:23,171
when there's yellow light, which is the complementary color,
330
00:17:23,173 --> 00:17:25,998
it means the object has no light to reflect.
331
00:17:26,373 --> 00:17:28,985
So, when you give it yellow lighting,
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00:17:29,010 --> 00:17:30,990
the saturation goes down.
333
00:17:32,273 --> 00:17:34,233
It's the opposite with yellow objects.
334
00:17:34,258 --> 00:17:36,425
So, this object has no light to reflect.
335
00:17:37,692 --> 00:17:39,848
This object can reflect blue light,
336
00:17:39,873 --> 00:17:41,648
so, when there's yellow light, which is a complementary color,
337
00:17:41,673 --> 00:17:42,867
it absorbs the yellow light.
338
00:17:43,277 --> 00:17:46,425
But, if there's blue light, the situation becomes the opposite.
339
00:17:46,783 --> 00:17:48,752
The blue object has a stronger saturation,
340
00:17:49,102 --> 00:17:51,629
and the yellow one has a weaker saturation.
341
00:17:53,079 --> 00:17:55,919
Depending on the type of lighting,
342
00:17:55,944 --> 00:17:58,179
the color of the object would change.
343
00:17:59,079 --> 00:18:03,183
So, it's very important, and it's very complex.
344
00:18:03,377 --> 00:18:05,356
You need to remember this
345
00:18:05,985 --> 00:18:08,498
because we are going to talk about optical illusions.
346
00:18:08,523 --> 00:18:10,738
That's why I emphasized background colors.
347
00:18:12,281 --> 00:18:13,217
Optical illusions.
348
00:18:15,529 --> 00:18:18,452
Basically, human eyes have a deficiency.
349
00:18:19,910 --> 00:18:22,715
Actually, the optic nerves should be placed outside of the eyes.
350
00:18:22,740 --> 00:18:25,310
But, our optic nerves are inside the eyes.
351
00:18:26,194 --> 00:18:28,165
So, we have a lot of optic nerves.
352
00:18:28,190 --> 00:18:31,194
And when light passes through them,
353
00:18:31,219 --> 00:18:33,804
we should be seeing our optic nerves.
354
00:18:34,104 --> 00:18:35,931
But, when we actually look at things,
355
00:18:36,015 --> 00:18:40,417
we can't see the numerous optic nerves.
356
00:18:40,792 --> 00:18:42,015
Why does that happen?
357
00:18:42,398 --> 00:18:44,913
People's eyes tend to vibrate.
358
00:18:46,113 --> 00:18:47,625
Our bodies vibrate,
359
00:18:47,650 --> 00:18:50,615
and when our eyes vibrate, our optic nerves
360
00:18:50,640 --> 00:18:52,531
also vibrate in the same frequency.
361
00:18:52,990 --> 00:18:54,779
So, the brain
362
00:18:54,804 --> 00:18:57,602
automatically deletes the vibrating optic nerves.
363
00:18:58,027 --> 00:19:00,627
It perceives it as a part of our body because it vibrates together.
364
00:19:00,629 --> 00:19:02,002
So, it decides not to show them
365
00:19:02,027 --> 00:19:03,490
in order that we would only see the scenery around us.
366
00:19:03,515 --> 00:19:05,471
So, the optic nerves that vibrate with us
367
00:19:05,496 --> 00:19:07,146
are deleted from our minds.
368
00:19:07,704 --> 00:19:09,385
So, the brain uses a lot of energy.
369
00:19:09,938 --> 00:19:11,446
And in that process,
370
00:19:11,471 --> 00:19:13,496
optical illusions are created.
371
00:19:13,729 --> 00:19:16,535
Those were the basics, but it wasn't that much.
372
00:19:17,594 --> 00:19:20,294
Then, what should we know about optical illusions?
373
00:19:20,319 --> 00:19:21,685
There's a lot we need to know.
374
00:19:25,769 --> 00:19:28,856
If there's a straight line and a curved line,
375
00:19:29,073 --> 00:19:31,219
while these two are actually the same length,
376
00:19:31,244 --> 00:19:32,865
the curved line looks a bit longer.
377
00:19:33,681 --> 00:19:36,287
Or, when there's a cut off line,
378
00:19:38,796 --> 00:19:40,718
instead of connecting them,
379
00:19:40,720 --> 00:19:44,308
it looks more natural when one of them is lifted.
380
00:19:46,492 --> 00:19:48,355
Because the line goes downwards,
381
00:19:48,357 --> 00:19:51,226
it looks like it goes down more in this area.
382
00:19:51,777 --> 00:19:54,190
So, instead of connecting them,
383
00:19:54,215 --> 00:19:55,469
it looks more natural
384
00:19:55,481 --> 00:19:57,127
if one of them goes down a bit more.
385
00:19:57,152 --> 00:19:59,388
You'll use these optical illusions some day.
386
00:19:59,504 --> 00:20:01,019
But, the ones I mentioned are not related to color.
387
00:20:01,183 --> 00:20:03,525
Then, what kind of optical illusions do we use with colors?
388
00:20:05,275 --> 00:20:06,950
It's the contrast between warm and cool colors.
389
00:20:12,483 --> 00:20:14,213
This is also very important.
390
00:20:17,138 --> 00:20:18,037
The contrast between warm and cool colors.
391
00:20:18,088 --> 00:20:20,667
It's a phenomenon that happens when there's contrast
392
00:20:20,692 --> 00:20:24,343
between warm and cool colors.
393
00:20:24,610 --> 00:20:26,888
Before that, let's talk about the mood of colors.
394
00:20:26,913 --> 00:20:30,690
When we say warm and cool colors,
395
00:20:30,715 --> 00:20:33,142
which colors are warm and which colors are cool?
396
00:20:33,167 --> 00:20:35,923
Reddish colors will be the warm colors.
397
00:20:36,665 --> 00:20:39,512
Colors like red, orange and yellow are the warm colors.
398
00:20:39,696 --> 00:20:43,006
On the other hand, the bluish colors will be the cool colors.
399
00:20:43,915 --> 00:20:45,312
So, when we use them,
400
00:20:45,324 --> 00:20:47,594
why is the contrast between them so important
401
00:20:47,619 --> 00:20:49,050
that we have to remember it?
402
00:20:49,200 --> 00:20:50,900
The first thing we need to know
403
00:20:51,050 --> 00:20:52,892
is that when two colors are used together,
404
00:20:53,190 --> 00:20:55,231
both of them are emphasized.
405
00:20:56,778 --> 00:20:58,975
When we use red and blue together,
406
00:20:59,000 --> 00:21:01,219
because they are warm and cool colors,
407
00:21:01,244 --> 00:21:02,812
when we look at an image,
408
00:21:02,824 --> 00:21:04,975
they look a bit remote from each other.
409
00:21:05,200 --> 00:21:07,822
That means both of them are emphasized.
410
00:21:08,073 --> 00:21:11,673
So, if you slip up with the color choice,
411
00:21:11,698 --> 00:21:14,385
the illustration could look out of style.
412
00:21:15,669 --> 00:21:18,210
It could look childish and distracting.
413
00:21:18,235 --> 00:21:20,286
And your eyes could hurt looking at it.
414
00:21:20,481 --> 00:21:21,902
But, of course,
415
00:21:21,927 --> 00:21:23,965
you can compose the illustration
416
00:21:23,990 --> 00:21:25,713
so the viewer's eyes get sore on purpose.
417
00:21:25,963 --> 00:21:28,063
But, if you don't want that
418
00:21:28,088 --> 00:21:30,756
and if you want a calm illustration,
419
00:21:30,781 --> 00:21:33,133
then how would you use warm and cool colors.
420
00:21:34,991 --> 00:21:36,246
The first method is to
421
00:21:36,613 --> 00:21:38,792
increase the area for one color.
422
00:21:40,335 --> 00:21:42,183
If there are a lot of reds,
423
00:21:42,208 --> 00:21:44,598
and if the blues are only placed in small areas,
424
00:21:45,656 --> 00:21:47,821
you can divide it into the main elements and the sub elements.
425
00:21:48,608 --> 00:21:50,640
Of course, it can be done the opposite way, too.
426
00:21:51,381 --> 00:21:53,600
If one color becomes the main color,
427
00:21:53,625 --> 00:21:55,046
even if both colors are emphasized,
428
00:21:55,058 --> 00:21:56,538
we can arrange the colors effectively.
429
00:21:56,563 --> 00:21:57,944
The second method is to
430
00:21:57,969 --> 00:21:59,635
decrease the saturation of one of them.
431
00:22:02,279 --> 00:22:04,071
I decreased the saturation of the blue part.
432
00:22:04,096 --> 00:22:06,342
So the red part is emphasized more.
433
00:22:06,367 --> 00:22:08,631
You can put an emphasis on one of the colors
434
00:22:08,800 --> 00:22:11,247
to give them some balance.
435
00:22:11,490 --> 00:22:13,633
So, when do we use this method a lot?
436
00:22:13,692 --> 00:22:15,222
We use this with complementary colors.
437
00:22:15,322 --> 00:22:17,779
Remember how complementary colors are opposite colors?
438
00:22:17,804 --> 00:22:18,592
So, let's do this.
439
00:22:18,617 --> 00:22:21,629
Green is the complementary color of red.
440
00:22:21,654 --> 00:22:23,322
Look up the color wheel for this one.
441
00:22:23,598 --> 00:22:25,608
What happens if we use them together?
442
00:22:26,085 --> 00:22:27,442
It becomes out of style.
443
00:22:27,506 --> 00:22:29,673
It kind of looks like kimchi.
444
00:22:29,698 --> 00:22:33,179
So, when you're using complementary colors,
445
00:22:33,191 --> 00:22:35,648
if you just use this, it will look awkward.
446
00:22:35,673 --> 00:22:37,306
So how can we use this?
447
00:22:37,472 --> 00:22:39,441
We can set the red as the main color
448
00:22:40,496 --> 00:22:42,216
and set the green as the supplementary color.
449
00:22:42,241 --> 00:22:45,223
Or, you can decrease the saturation of the green,
450
00:22:48,890 --> 00:22:50,179
and if you do that,
451
00:22:50,191 --> 00:22:52,400
the red and the green complement each other well.
452
00:22:52,674 --> 00:22:53,606
If you just think of
453
00:22:53,631 --> 00:22:56,035
the impressions of colors,
454
00:22:56,060 --> 00:22:57,522
complementary colors
455
00:22:57,814 --> 00:22:59,591
harmonize with each other.
456
00:22:59,616 --> 00:23:01,541
But, when you're using them,
457
00:23:01,566 --> 00:23:04,268
if both of them have a strong saturation,
458
00:23:04,293 --> 00:23:07,243
your eyes would be sore and the illustration becomes too strong.
459
00:23:07,360 --> 00:23:10,879
So, if you decrease the saturation of one of them,
460
00:23:10,904 --> 00:23:13,145
you can balance the overall image well.
461
00:23:13,379 --> 00:23:16,201
That's the method we use for cool and warm colors.
462
00:23:16,226 --> 00:23:18,608
This is used often, so remember it.
463
00:23:19,920 --> 00:23:22,831
Now, let's look at another example.
464
00:23:23,714 --> 00:23:26,229
What we previously learned was that when we use
465
00:23:26,254 --> 00:23:28,018
complementary colors for the warm and cool colors,
466
00:23:28,093 --> 00:23:31,105
they emphasize each other.
467
00:23:31,239 --> 00:23:32,914
What we're going to learn now is
468
00:23:33,214 --> 00:23:37,053
when a single color fills up a screen,
469
00:23:39,295 --> 00:23:46,855
and when a color with low saturation is placed inside,
470
00:23:47,101 --> 00:23:50,265
it looks relatively bluish.
471
00:23:50,267 --> 00:23:53,342
Let's say that in a classroom, all the students are nice.
472
00:23:53,344 --> 00:23:54,643
They're all nice kids,
473
00:23:54,668 --> 00:23:56,776
but one of them slipped up
474
00:23:56,801 --> 00:23:57,891
just once.
475
00:23:58,116 --> 00:24:00,889
But, because all the other kids are nice,
476
00:24:00,890 --> 00:24:02,928
he or she would grab everyone's attention.
477
00:24:03,212 --> 00:24:04,318
It's the same logic.
478
00:24:04,343 --> 00:24:06,495
The background color is red.
479
00:24:06,520 --> 00:24:08,681
And this color just has low saturation.
480
00:24:08,706 --> 00:24:11,099
So, to our eyes, it looks blue.
481
00:24:15,220 --> 00:24:17,943
Let's look at another example.
482
00:24:19,510 --> 00:24:21,391
I worked on this a long time ago.
483
00:24:21,416 --> 00:24:23,429
When you look at the characters' skin color,
484
00:24:23,454 --> 00:24:26,618
you can see that they have realistic
485
00:24:26,643 --> 00:24:27,857
skin tones.
486
00:24:27,965 --> 00:24:30,016
But, what if we use the Color Picker?
487
00:24:30,708 --> 00:24:34,041
You can see that not even orangeish colors were used.
488
00:24:34,166 --> 00:24:36,941
The colors are all bluish.
489
00:24:38,091 --> 00:24:42,283
But, because the skin colors have lower saturation
490
00:24:42,284 --> 00:24:43,870
compared to the blue background,
491
00:24:43,895 --> 00:24:46,864
the brain automatically perceives it as
492
00:24:46,889 --> 00:24:49,108
being a reddish color.
493
00:24:49,916 --> 00:24:51,649
Because of this optical illusion,
494
00:24:51,674 --> 00:24:54,138
a lot of people make mistakes with colors.
495
00:24:54,297 --> 00:24:55,833
When we have a background like this,
496
00:24:55,858 --> 00:24:59,556
even when we have a small reddish area with low saturation,
497
00:25:00,789 --> 00:25:02,605
it looks like a beige color.
498
00:25:02,872 --> 00:25:04,487
It looks like a yellowish color.
499
00:25:04,512 --> 00:25:06,728
The color I picked with the Color Picker is purple.
500
00:25:06,795 --> 00:25:09,515
But, it will look yellowish, not purpleish.
501
00:25:09,712 --> 00:25:12,572
The difference between knowing and not knowing
502
00:25:12,597 --> 00:25:14,170
these optical illusions
503
00:25:14,195 --> 00:25:16,522
will be huge when you color your works.
504
00:25:17,306 --> 00:25:19,956
So, you need to know about them.
505
00:25:20,497 --> 00:25:22,383
So, we've looked at warm and cool colors.
506
00:25:22,408 --> 00:25:24,349
The two important things we should know are
507
00:25:24,458 --> 00:25:26,441
first, when two colors are both emphasized,
508
00:25:26,799 --> 00:25:28,912
and two, when one color predominates,
509
00:25:28,937 --> 00:25:31,722
even a small low-saturated color draws attention
510
00:25:31,822 --> 00:25:33,622
and looks like a complementary color.
511
00:25:33,814 --> 00:25:35,859
So, let's utilize this
512
00:25:35,871 --> 00:25:37,849
to give lighting to the character.
513
00:25:52,977 --> 00:25:54,637
Let's create a scenario.
514
00:25:56,696 --> 00:25:59,431
Let's say the sun is setting.
515
00:26:00,600 --> 00:26:03,204
So, overall, there would be a lot of orange.
516
00:26:03,206 --> 00:26:05,499
Because the character's skin is generally yellowish,
517
00:26:05,501 --> 00:26:08,435
the color of its skin will have higher saturation.
518
00:26:10,699 --> 00:26:12,037
It will have higher saturation,
519
00:26:12,049 --> 00:26:14,623
and the overall color will be yellowish.
520
00:26:16,697 --> 00:26:19,512
If you think about whether the light is strong or weak,
521
00:26:19,546 --> 00:26:21,056
the sunset light will be weak.
522
00:26:21,198 --> 00:26:24,931
Because it's weak, the contrast will be smaller.
523
00:26:26,231 --> 00:26:28,119
Stronger light means bigger contrast
524
00:26:28,144 --> 00:26:30,644
and weaker light means smaller contrast.
525
00:26:32,369 --> 00:26:35,175
So, there's less difference between the light and the shadows.
526
00:26:35,241 --> 00:26:37,919
Let's say the character has a blue crystal ball.
527
00:26:40,110 --> 00:26:42,598
It has a blue crystal ball.
528
00:26:45,598 --> 00:26:47,310
Let me make it more natural.
529
00:26:47,335 --> 00:26:49,304
It's holding a blue crystal ball like this.
530
00:26:49,900 --> 00:26:52,979
Then, what would happen if it gets yellow light?
531
00:26:53,683 --> 00:26:56,094
How should we compose it
532
00:26:56,119 --> 00:26:57,860
so that it harmonizes with the background?
533
00:27:02,196 --> 00:27:04,799
Let's apply the sunset to the background.
534
00:27:05,090 --> 00:27:07,590
The answer would be decreasing the saturation
535
00:27:07,857 --> 00:27:10,244
and increasing the reds.
536
00:27:11,369 --> 00:27:13,682
What color do we get with blue and red?
537
00:27:13,684 --> 00:27:15,067
We'll have purple.
538
00:27:16,775 --> 00:27:17,915
I'll control this slider.
539
00:27:20,875 --> 00:27:21,704
So, the color
540
00:27:21,904 --> 00:27:23,775
will look like this.
541
00:27:23,800 --> 00:27:25,373
This ball used to be blue.
542
00:27:25,398 --> 00:27:28,704
But, because of the orange light, it is now a low saturated purple color.
543
00:27:29,087 --> 00:27:30,594
You can understand it like that.
544
00:27:30,710 --> 00:27:33,115
So, this is how you moderate colors
545
00:27:33,344 --> 00:27:37,048
based on the coloring method you used.
546
00:27:37,206 --> 00:27:39,245
Now, we're going to give blue lighting.
547
00:27:39,387 --> 00:27:41,835
What would happen if we give it blue light?
548
00:27:41,860 --> 00:27:44,269
Then, the ball would have a higher saturation.
549
00:27:45,512 --> 00:27:46,900
It will have a higher saturation,
550
00:27:47,575 --> 00:27:49,350
and it will be more bluish.
551
00:27:50,983 --> 00:27:52,498
Same with the character.
552
00:27:52,765 --> 00:27:54,302
We're going to give it blue lighting.
553
00:27:54,303 --> 00:27:56,521
But, it will be the opposite for the character.
554
00:27:56,788 --> 00:27:58,637
Its saturation will decrease a lot
555
00:27:59,613 --> 00:28:01,500
since its skin color is a reddish color.
556
00:28:01,796 --> 00:28:03,433
The saturation would decrease,
557
00:28:03,683 --> 00:28:05,767
and its skin color would have more bluish colors.
558
00:28:05,792 --> 00:28:07,975
That's how the lighting will be applied.
559
00:28:08,492 --> 00:28:10,817
A character that is lit at night
560
00:28:10,842 --> 00:28:12,992
would be in this kind of background.
561
00:28:13,387 --> 00:28:15,479
So, when you're coloring the background,
562
00:28:15,504 --> 00:28:17,815
the contrast between warm and cool colors
563
00:28:17,840 --> 00:28:19,006
has a huge impact.
564
00:28:19,181 --> 00:28:22,187
Knowing these things and applying them
565
00:28:22,220 --> 00:28:24,077
was what I explained today.
566
00:28:25,902 --> 00:28:28,127
So, now we learned how to
567
00:28:28,152 --> 00:28:30,490
control the amount of information with lighting.
568
00:28:31,181 --> 00:28:33,583
We learned how give more or less information with lighting.
569
00:28:33,608 --> 00:28:36,062
We also learned the basics of
570
00:28:36,087 --> 00:28:38,875
how to use warm and cool colors to
571
00:28:38,900 --> 00:28:41,573
color in the background
572
00:28:41,598 --> 00:28:43,396
and how those colors would change.
573
00:28:44,577 --> 00:28:45,774
Now, all that's left is the actual drawing.
574
00:28:45,799 --> 00:28:48,544
Let's apply what we've learned to an example.
575
00:29:00,477 --> 00:29:02,217
Now, I'm going to draw a night background
576
00:29:02,242 --> 00:29:04,647
behind the character.
577
00:29:07,406 --> 00:29:11,106
Because it's night, there will be dark blue lighting.
578
00:29:18,498 --> 00:29:21,027
And the character would be in that background.
579
00:29:21,127 --> 00:29:23,921
Now, when we think of lighting,
580
00:29:23,923 --> 00:29:26,110
there's something we need to decide.
581
00:29:28,602 --> 00:29:30,880
When we set the lighting, there are
582
00:29:30,892 --> 00:29:32,658
four things we need to think about.
583
00:29:34,367 --> 00:29:35,866
The first thing is the number of light sources.
584
00:29:35,992 --> 00:29:38,654
With an illustration, there could be
585
00:29:38,679 --> 00:29:40,296
more than one light source.
586
00:29:40,321 --> 00:29:42,323
So, we need to decide on its number.
587
00:29:44,594 --> 00:29:48,252
The second would be its direction, which is also important.
588
00:29:48,277 --> 00:29:49,427
We need to set its direction.
589
00:29:50,685 --> 00:29:53,648
Third, there's the intensity of the light.
590
00:29:53,673 --> 00:29:54,702
How strong should the light be?
591
00:29:54,919 --> 00:29:55,923
Fourth, the color.
592
00:29:55,948 --> 00:29:57,202
What color is the light?
593
00:29:57,402 --> 00:29:58,775
So, these four aspects
594
00:29:58,800 --> 00:30:00,223
are very important with lighting.
595
00:30:00,248 --> 00:30:01,998
So, when you're drawing,
596
00:30:02,023 --> 00:30:04,425
I recommend you make this chart and continue.
597
00:30:04,975 --> 00:30:06,912
So, now we're going to draw a night background.
598
00:30:06,914 --> 00:30:09,439
Let's see what kind of lighting we will apply.
599
00:30:13,983 --> 00:30:16,637
I'm going to go in more detail
600
00:30:16,721 --> 00:30:18,765
when we get into detailed coloring.
601
00:30:19,683 --> 00:30:21,302
The lighting I'll give now
602
00:30:21,896 --> 00:30:28,213
is a weak blue light coming from the front.
603
00:30:29,915 --> 00:30:33,604
And from the left behind
604
00:30:35,567 --> 00:30:36,604
I'm going to give
605
00:30:37,179 --> 00:30:40,048
a bluish white light
606
00:30:41,106 --> 00:30:44,492
that is strong but with low saturation.
607
00:30:44,517 --> 00:30:46,435
So, let's apply these.
608
00:30:46,577 --> 00:30:49,258
Let's look at the frontal lighting first.
609
00:30:49,283 --> 00:30:51,643
The frontal light is weak.
610
00:30:51,702 --> 00:30:53,856
What happens with the contrast if the light is weak?
611
00:30:54,656 --> 00:30:58,325
If it's weak, the contrast decreases.
612
00:30:58,400 --> 00:31:01,523
So, the overall contrast of the character would decrease.
613
00:31:12,875 --> 00:31:15,657
I'll minimize the difference between the bright and dark areas.
614
00:31:23,690 --> 00:31:27,396
I'll minimize the contrast like this,
615
00:31:27,421 --> 00:31:29,738
and the overall color will be
616
00:31:30,805 --> 00:31:31,888
a strong bluish color.
617
00:31:36,280 --> 00:31:39,931
Because the light is weak, it will spread out more.
618
00:31:40,207 --> 00:31:42,315
This is called soft light.
619
00:31:42,317 --> 00:31:44,552
But, I'll go into more detail later on.
620
00:31:53,311 --> 00:31:55,340
So, that's it for the frontal light
621
00:31:55,590 --> 00:31:57,573
which spreads out thinly.
622
00:31:58,190 --> 00:32:00,011
Now that we're done with that,
623
00:32:00,036 --> 00:32:01,317
let's apply the Backlight.
624
00:32:01,492 --> 00:32:03,635
We decided to give it light from behind to the left.
625
00:32:03,911 --> 00:32:05,457
So, I'll make a new layer
626
00:32:21,367 --> 00:32:22,306
just like this.
627
00:32:39,015 --> 00:32:41,656
When we give this kind of lighting,
628
00:32:41,681 --> 00:32:43,097
we must understand
629
00:32:43,109 --> 00:32:45,043
the three-dimensional information of the character.
630
00:32:45,194 --> 00:32:48,904
So, when you're coloring a three-dimensional object,
631
00:32:48,929 --> 00:32:52,276
and if you don't know which planes should be brighter in what way,
632
00:32:52,604 --> 00:32:56,268
you shouldn't practice coloring
633
00:32:56,270 --> 00:32:58,029
but practice drawing instead.
634
00:32:59,815 --> 00:33:03,091
When you have a better understanding of where an object is headed,
635
00:33:03,092 --> 00:33:05,249
your coloring will be more
636
00:33:05,704 --> 00:33:07,419
accurate and precise.
637
00:33:08,075 --> 00:33:10,840
So, to do that,
638
00:33:10,865 --> 00:33:12,902
you need to study forms.
639
00:33:12,927 --> 00:33:15,896
It's best if you study forms when you draw.
640
00:33:21,094 --> 00:33:24,810
So, this way, a character that gets light from the back at night
641
00:33:24,835 --> 00:33:26,041
is complete.
642
00:33:26,043 --> 00:33:28,358
If you draw a simple background,
643
00:33:35,344 --> 00:33:36,927
it will be this kind of drawing.
644
00:33:37,119 --> 00:33:40,350
You might have seen this lighting style previously.
645
00:33:40,800 --> 00:33:42,933
So, let's compose other situations too.
646
00:33:43,956 --> 00:33:47,066
Now, I'm going to
647
00:33:54,353 --> 00:33:58,562
color a character brightly, and also give it a bright background.
648
00:33:58,883 --> 00:34:00,797
So, when I apply that, how should I do it?
649
00:34:01,100 --> 00:34:03,892
I told you that this character's clothing is simple.
650
00:34:04,275 --> 00:34:08,245
Because it is simple, when you apply shadows,
651
00:34:11,469 --> 00:34:14,064
it's better to increase the dark areas.
652
00:34:19,506 --> 00:34:22,370
Now, we're going to give it some variables.
653
00:34:25,992 --> 00:34:27,784
This would be my thought
654
00:34:27,796 --> 00:34:29,933
when I want to dress it up.
655
00:34:30,598 --> 00:34:32,567
When I give it detailed clothes,
656
00:34:32,592 --> 00:34:36,025
the lighting will become quite different.
657
00:34:36,117 --> 00:34:39,213
Because the design itself is information.
658
00:34:39,400 --> 00:34:44,319
So, if we utilize this example with clothes,
659
00:34:51,000 --> 00:34:52,958
and if we apply shadows just like we did before,
660
00:35:10,298 --> 00:35:11,731
you can see that
661
00:35:20,002 --> 00:35:23,422
the illustration becomes quite complicated.
662
00:35:23,590 --> 00:35:25,467
Previously, when there was just skin,
663
00:35:25,492 --> 00:35:26,983
and when lighting was applied,
664
00:35:27,008 --> 00:35:29,844
the character would just have a strong impression.
665
00:35:29,869 --> 00:35:31,652
But, because it has sophisticated clothing,
666
00:35:31,677 --> 00:35:34,040
the illustration would look very dark
667
00:35:34,065 --> 00:35:36,264
and complicated.
668
00:35:36,465 --> 00:35:38,085
It would have a much stronger impression.
669
00:35:38,110 --> 00:35:39,438
So, when you want to
670
00:35:39,463 --> 00:35:41,762
draw sophisticated outfits
671
00:35:41,764 --> 00:35:43,856
to increase the amount of information,
672
00:35:43,881 --> 00:35:46,938
you should apply less lighting
673
00:35:52,400 --> 00:35:54,221
and decrease the dark areas.
674
00:35:59,425 --> 00:36:02,860
That way, the drawing would be much more neat.
675
00:36:13,379 --> 00:36:15,408
If you do this,
676
00:36:15,441 --> 00:36:18,595
it would have a much more neat impression.
677
00:36:18,906 --> 00:36:20,488
There's another method.
678
00:36:20,513 --> 00:36:22,902
I mentioned decreasing the dark areas.
679
00:36:22,927 --> 00:36:24,317
But, to be precise,
680
00:36:24,342 --> 00:36:27,540
it's all about whether the dimension of
681
00:36:27,565 --> 00:36:29,650
the light and dark areas are equal.
682
00:36:30,298 --> 00:36:33,423
So, previously,
683
00:36:33,424 --> 00:36:35,379
I applied a lot of lighting to it.
684
00:36:35,404 --> 00:36:39,181
The second method would be
685
00:36:39,193 --> 00:36:40,813
applying a lot of dark areas.
686
00:36:43,604 --> 00:36:47,018
Let's give it a weak amount of darkness.
687
00:36:47,471 --> 00:36:50,477
We'll give it just a little bit of light.
688
00:37:26,883 --> 00:37:28,917
We're not giving light to a large area,
689
00:37:28,995 --> 00:37:32,108
but we're giving light only to a small area,
690
00:37:34,796 --> 00:37:36,171
like this.
691
00:37:36,196 --> 00:37:38,560
So, in this way,
692
00:37:38,572 --> 00:37:40,679
we only slightly colored the illustration.
693
00:37:45,604 --> 00:37:47,506
So, these two methods,
694
00:37:48,194 --> 00:37:50,711
in other words, by either increasing the light or the darkness
695
00:37:50,736 --> 00:37:52,799
to cover up the surface,
696
00:37:53,078 --> 00:37:56,405
they are commonly used when the design is sophisticated.
697
00:37:56,699 --> 00:37:59,815
This would be utilizing the amount of information.
698
00:38:00,002 --> 00:38:04,923
This is how we would describe
699
00:38:05,498 --> 00:38:06,803
a character in daylight.
700
00:38:07,293 --> 00:38:10,199
We also experimented with the night lights.
701
00:38:10,581 --> 00:38:11,980
And also daylight.
702
00:38:12,005 --> 00:38:14,307
So, we looked at two scenarios.
703
00:38:17,890 --> 00:38:19,525
If you've learned this much,
704
00:38:19,550 --> 00:38:21,489
you can keep changing the settings
705
00:38:21,514 --> 00:38:23,898
to apply lighting to the illustration.
706
00:38:24,318 --> 00:38:25,919
Let's go to the beginning.
707
00:38:29,085 --> 00:38:30,504
Let's set the table
708
00:38:30,529 --> 00:38:32,397
when we're looking at these pictures.
709
00:38:35,205 --> 00:38:37,902
With this example, the light is coming from the top left.
710
00:38:38,782 --> 00:38:42,616
And the light will be a reddish light.
711
00:38:44,316 --> 00:38:46,099
It's a reddish light,
712
00:38:46,124 --> 00:38:49,390
and you can see that the top left is bright.
713
00:38:50,063 --> 00:38:52,722
You might ask if this character's shadow has no light at all.
714
00:38:52,724 --> 00:38:54,026
But, that's not true.
715
00:38:54,206 --> 00:38:56,021
I'll explain it further later on, but,
716
00:38:56,401 --> 00:38:59,180
the fact that we can see this object
717
00:38:59,205 --> 00:39:00,990
even without light,
718
00:39:01,015 --> 00:39:02,908
means that light is coming from somewhere.
719
00:39:03,768 --> 00:39:06,212
The light that would be applied is the background color.
720
00:39:09,073 --> 00:39:10,511
We can predict the background color
721
00:39:10,536 --> 00:39:13,225
when we look at the character's shadows.
722
00:39:14,218 --> 00:39:17,261
So, we can know that this character's background color
723
00:39:17,286 --> 00:39:18,458
is a reddish color.
724
00:39:18,512 --> 00:39:20,509
So, in this example,
725
00:39:20,534 --> 00:39:22,304
there are two main kinds of light.
726
00:39:22,593 --> 00:39:23,975
The light coming from the top left,
727
00:39:24,000 --> 00:39:26,186
and the background color that comes to the shadows.
728
00:39:28,127 --> 00:39:30,799
Actually, the background color is all around the character,
729
00:39:30,824 --> 00:39:32,700
so it's hard to set its direction.
730
00:39:33,619 --> 00:39:37,799
Just think of it as coming from the front.
731
00:39:37,995 --> 00:39:40,854
Because, our eyes perceive
732
00:39:40,879 --> 00:39:44,327
extruding objects as being brighter.
733
00:39:44,500 --> 00:39:47,083
When there is reflecting light,
734
00:39:47,108 --> 00:39:50,026
and a reflecting light that comes from afar,
735
00:39:50,028 --> 00:39:51,943
this light would be more strongly reflected.
736
00:39:52,592 --> 00:39:55,927
Then, the light looks strong from the foreground.
737
00:39:56,308 --> 00:39:57,589
So, when you're looking at an object,
738
00:39:57,614 --> 00:40:00,105
the highlight is usually placed at the front.
739
00:40:01,471 --> 00:40:03,261
So, to think of it simply,
740
00:40:03,286 --> 00:40:05,200
the background color comes from all directions,
741
00:40:05,225 --> 00:40:08,342
but is stronger from the front.
742
00:40:10,384 --> 00:40:11,932
Let's fill in this chart.
743
00:40:11,957 --> 00:40:14,307
We have two lights.
744
00:40:15,422 --> 00:40:17,242
The direction would be the top left
745
00:40:19,188 --> 00:40:20,819
and the front.
746
00:40:23,736 --> 00:40:26,146
The color - this would be a red color
747
00:40:27,676 --> 00:40:28,505
that has low saturation.
748
00:40:28,905 --> 00:40:31,433
If it's highly saturated, the skin would be really red.
749
00:40:32,595 --> 00:40:37,200
The dark areas have highly saturated red colors.
750
00:40:40,006 --> 00:40:42,930
The intensity of the light - this light is strong,
751
00:40:44,314 --> 00:40:46,857
and the background color is weak.
752
00:40:47,484 --> 00:40:48,912
Those would be the characteristics.
753
00:40:50,099 --> 00:40:51,022
The same would be applied here.
754
00:40:51,047 --> 00:40:52,373
If you apply those things,
755
00:40:52,398 --> 00:40:53,435
because the character
756
00:40:53,437 --> 00:40:55,123
is in a blue background,
757
00:40:55,148 --> 00:40:57,212
you can see that its skin has low saturation.
758
00:40:57,385 --> 00:41:00,057
Also, there's additional lighting from underneath.
759
00:41:00,795 --> 00:41:03,181
If we have different lightings like this,
760
00:41:03,206 --> 00:41:05,238
we can make a chart like this,
761
00:41:05,263 --> 00:41:07,668
and we can approach it more easily.
762
00:41:07,693 --> 00:41:10,332
Most of all, it will help you a lot
763
00:41:10,357 --> 00:41:11,758
when you draw the exact image
764
00:41:11,783 --> 00:41:13,536
that you thought of.
765
00:41:13,716 --> 00:41:15,180
I emphasize to my students
766
00:41:15,205 --> 00:41:17,899
to draw this chart.
767
00:41:17,924 --> 00:41:20,098
So, when you're creating an illustration,
768
00:41:20,123 --> 00:41:22,098
and if you're coloring,
769
00:41:22,291 --> 00:41:23,439
before you do that,
770
00:41:23,464 --> 00:41:26,601
I recommend you to draw a chart.
771
00:41:26,708 --> 00:41:27,767
We're doing this because
772
00:41:27,792 --> 00:41:29,198
if we don't do this,
773
00:41:29,223 --> 00:41:32,803
say you want to give the character a different lighting
774
00:41:32,910 --> 00:41:34,397
to what you've previously done.
775
00:41:34,399 --> 00:41:35,771
But, as you work on it,
776
00:41:35,796 --> 00:41:38,484
the lighting will be similar
777
00:41:38,509 --> 00:41:39,742
to what you've previously done.
778
00:41:40,002 --> 00:41:43,012
So, to prevent that, you have to draw a chart.
779
00:41:44,392 --> 00:41:46,620
I'll give you some more examples.
780
00:41:50,114 --> 00:41:52,015
What kind of lighting should I apply now?
781
00:41:52,089 --> 00:41:55,899
Suppose we're placing this character in a green room.
782
00:42:00,555 --> 00:42:02,285
The background will be green.
783
00:42:03,086 --> 00:42:04,339
I'll create a new Layer.
784
00:42:22,218 --> 00:42:24,726
Because the background will be green,
785
00:42:24,751 --> 00:42:27,153
the overall color will be more greenish,
786
00:42:27,178 --> 00:42:29,999
and because its skin color is yellowish, or reddish,
787
00:42:30,000 --> 00:42:33,596
the skin color would be less saturated
788
00:42:35,205 --> 00:42:36,643
and blend into the green background.
789
00:42:41,584 --> 00:42:44,320
So, now I'm going to give it lighting,
790
00:42:44,345 --> 00:42:46,233
but say that you want to give it soft lighting.
791
00:42:47,007 --> 00:42:48,384
So, now we'll learn about
792
00:42:48,409 --> 00:42:50,110
Soft Light and Hard Light.
793
00:43:05,663 --> 00:43:07,758
This isn't something that's too difficult.
794
00:43:07,783 --> 00:43:09,217
Literally, Soft Light is
795
00:43:09,242 --> 00:43:12,095
a light that softly spreads out,
796
00:43:12,188 --> 00:43:13,833
and Hard Light is
797
00:43:13,858 --> 00:43:16,346
a light with vivid shadows.
798
00:43:16,500 --> 00:43:17,739
So, the Hard Light will be a stronger light,
799
00:43:17,764 --> 00:43:19,419
and the Soft Light will be a weaker light.
800
00:43:19,793 --> 00:43:22,093
So, how would they look?
801
00:43:22,118 --> 00:43:24,602
Previously, I mentioned 'the amount of information'.
802
00:43:25,902 --> 00:43:28,161
Out of these two, the one with
803
00:43:28,163 --> 00:43:29,735
generally more information
804
00:43:29,760 --> 00:43:31,111
is the Soft Light.
805
00:43:31,298 --> 00:43:32,533
To put it simply,
806
00:43:32,558 --> 00:43:33,617
with Soft Light,
807
00:43:33,684 --> 00:43:36,311
the light layers are divided up between
808
00:43:36,336 --> 00:43:38,129
the light area and the shadow area.
809
00:43:39,880 --> 00:43:42,803
Hard Light just creates two light layers.
810
00:43:42,943 --> 00:43:43,951
So,
811
00:43:43,976 --> 00:43:45,264
because of the amount of color,
812
00:43:45,289 --> 00:43:48,028
Soft Light looks more complicated
813
00:43:49,495 --> 00:43:51,134
and creates better focus.
814
00:43:51,501 --> 00:43:53,546
So, now I drew
815
00:43:53,571 --> 00:43:55,713
the character's clothes simply.
816
00:43:55,715 --> 00:43:58,991
If you want to make it heavy
817
00:43:59,016 --> 00:44:00,593
while still maintaining the simple design,
818
00:44:00,618 --> 00:44:03,139
so that the gaze
819
00:44:03,164 --> 00:44:04,521
would focus on the character,
820
00:44:04,608 --> 00:44:07,323
it would be better to use Soft Light.
821
00:44:07,543 --> 00:44:09,131
So, let's use it.
822
00:44:18,623 --> 00:44:21,533
I'm going to make the light come from the front.
823
00:45:02,610 --> 00:45:04,049
To make it look soft,
824
00:45:04,074 --> 00:45:06,433
I recommend that you paint with Airbrush brushes.
825
00:45:22,610 --> 00:45:23,909
The dark areas
826
00:45:23,934 --> 00:45:26,502
wouldn't be suddenly dark, but they would gradually get darker.
827
00:45:34,318 --> 00:45:36,329
Let's keep putting in more information.
828
00:45:41,901 --> 00:45:45,050
It's different from the method I used when
829
00:45:45,075 --> 00:45:46,812
I explained the amount of information.
830
00:45:46,866 --> 00:45:49,663
Previously, we increased the amount of shadows
831
00:45:49,688 --> 00:45:52,170
to increase the amount of information.
832
00:45:52,195 --> 00:45:54,488
Now, we're not increasing the amount of shadows,
833
00:45:54,513 --> 00:45:58,594
but we're increasing the layers between the light and the shadows.
834
00:46:01,486 --> 00:46:03,765
You can control the amount of information like this.
835
00:46:13,810 --> 00:46:16,122
The more the light spreads out,
836
00:46:21,700 --> 00:46:23,511
the more it sticks out.
837
00:46:26,979 --> 00:46:28,980
Let's look at the difference
838
00:46:29,005 --> 00:46:31,302
when we just apply lighting to the skin.
839
00:46:31,415 --> 00:46:32,106
Before.
840
00:46:33,699 --> 00:46:34,450
And after.
841
00:46:36,814 --> 00:46:39,768
You can see that our gaze goes towards
842
00:46:39,793 --> 00:46:41,519
the area in the middle.
843
00:46:48,602 --> 00:46:50,643
So, we can give characters lighting
844
00:46:50,668 --> 00:46:52,339
by using Soft Light.
845
00:47:07,990 --> 00:47:10,911
With a simple character,
846
00:47:12,491 --> 00:47:15,349
or a character with a lot of skin exposure,
847
00:47:16,292 --> 00:47:18,344
when you want to make it sexy,
848
00:47:18,369 --> 00:47:20,723
you'll use Soft Light a lot.
849
00:47:25,111 --> 00:47:26,591
So, let's summarize.
850
00:47:27,504 --> 00:47:30,465
We learned lighting today.
851
00:47:31,012 --> 00:47:33,484
When we apply lighting,
852
00:47:33,509 --> 00:47:38,094
we need to know
853
00:47:48,288 --> 00:47:49,718
three types of information.
854
00:47:50,185 --> 00:47:52,406
First, the amount of information.
855
00:47:55,405 --> 00:47:58,202
This information doesn't just apply to the coloring stage,
856
00:47:58,227 --> 00:48:00,588
but applies to the drawing stage as well.
857
00:48:00,613 --> 00:48:04,358
With what we've learned so far,
858
00:48:04,383 --> 00:48:05,782
when you're coloring,
859
00:48:05,902 --> 00:48:08,481
you need to set how much information you'd put in
860
00:48:08,506 --> 00:48:11,527
when you apply lighting.
861
00:48:11,700 --> 00:48:13,415
That's what today's lecture was about.
862
00:48:13,695 --> 00:48:17,294
There are four ways to increase the amount of information.
863
00:48:18,188 --> 00:48:25,130
Saturation, density, contrast, and hues.
864
00:48:26,994 --> 00:48:28,148
You should be able to
865
00:48:28,173 --> 00:48:30,674
use these elements to control
866
00:48:30,699 --> 00:48:32,315
the amount of information in coloring.
867
00:48:32,872 --> 00:48:34,435
The second thing I told you about
868
00:48:34,460 --> 00:48:35,998
is the setting
869
00:48:36,051 --> 00:48:37,666
of your lighting.
870
00:48:41,516 --> 00:48:45,110
You should decide its angle and colors.
871
00:48:45,977 --> 00:48:47,610
There are four things you need to think about.
872
00:48:48,483 --> 00:48:56,410
The number, the color, the intensity, and the direction.
873
00:48:58,691 --> 00:49:00,299
Set these four elements
874
00:49:00,324 --> 00:49:02,423
so that you have the lighting
875
00:49:02,448 --> 00:49:04,028
that suits your image.
876
00:49:04,594 --> 00:49:06,733
Draw a table, and then continue.
877
00:49:07,091 --> 00:49:09,124
We also learned the contrast between warm and cool colors.
878
00:49:12,310 --> 00:49:14,888
In other words, the optical illusion.
879
00:49:17,603 --> 00:49:20,103
The contrast can be divided into two scenarios.
880
00:49:20,416 --> 00:49:23,148
The first scenario is when you emphasize both the colors.
881
00:49:23,588 --> 00:49:25,587
The second scenario is when
882
00:49:25,612 --> 00:49:27,675
only one color becomes the main color
883
00:49:27,700 --> 00:49:29,726
because one of the colors
884
00:49:30,382 --> 00:49:32,565
has a low saturation.
885
00:49:32,590 --> 00:49:35,535
So, this would also be a type of emphasis.
886
00:49:35,696 --> 00:49:36,722
When you do that,
887
00:49:36,776 --> 00:49:40,319
I told you the usage for two different types.
888
00:49:41,165 --> 00:49:43,114
Now, the important thing is,
889
00:49:43,696 --> 00:49:45,946
if we have a yellow object,
890
00:49:45,971 --> 00:49:48,630
because it reflects yellow light,
891
00:49:48,632 --> 00:49:50,222
our eyes would perceive it as yellow.
892
00:49:50,583 --> 00:49:53,545
So, if the object has blue lighting applied,
893
00:49:53,570 --> 00:49:56,092
the saturation would decrease.
894
00:49:56,588 --> 00:49:58,426
You should move on
895
00:49:58,451 --> 00:50:00,695
after you keep that in mind.
896
00:50:02,828 --> 00:50:05,234
What I told you on top of that
897
00:50:07,984 --> 00:50:09,570
is what's really important.
898
00:50:09,595 --> 00:50:12,547
I've additionally taught you Soft Light,
899
00:50:15,381 --> 00:50:16,290
and Hard Light.
900
00:50:19,376 --> 00:50:21,311
I told you these.
901
00:50:24,127 --> 00:50:26,340
And, if I have to choose something
902
00:50:26,365 --> 00:50:28,988
that I really want to emphasize
903
00:50:29,013 --> 00:50:30,368
out of everything I told you here,
904
00:50:30,393 --> 00:50:32,512
I want to emphasize the amount of information.
905
00:50:32,792 --> 00:50:35,606
I didn't see a lot of people who thought of this in advance
906
00:50:35,631 --> 00:50:37,219
before they actually started drawing.
907
00:50:37,420 --> 00:50:40,019
So, with the amount of information,
908
00:50:40,020 --> 00:50:43,427
when we compare drawing to cooking,
909
00:50:43,793 --> 00:50:46,703
the recipe would be how we would compose the canvas.
910
00:50:46,790 --> 00:50:48,503
What's most important?
911
00:50:48,505 --> 00:50:49,809
It's the seasoning.
912
00:50:50,003 --> 00:50:52,828
You have to determine whether it's
913
00:50:53,168 --> 00:50:54,101
salty, tasty,
914
00:50:54,126 --> 00:50:55,589
or just right.
915
00:50:55,614 --> 00:50:57,499
So, this concept is
916
00:50:57,500 --> 00:50:59,588
something very essential.
917
00:50:59,613 --> 00:51:00,701
But there aren't many people
918
00:51:00,726 --> 00:51:03,121
who are conscious of it when coloring.
919
00:51:03,281 --> 00:51:06,795
So, if your character's design
920
00:51:12,796 --> 00:51:14,713
is simple,
921
00:51:18,371 --> 00:51:20,805
increase the lit parts and the shadowy parts
922
00:51:20,969 --> 00:51:22,433
to increase the amount of information.
923
00:51:22,706 --> 00:51:24,221
On the other hand,
924
00:51:24,501 --> 00:51:26,125
if it looks too complicated,
925
00:51:26,285 --> 00:51:29,015
make them focus on one side.
926
00:51:29,195 --> 00:51:30,617
Then, either increase the amount
927
00:51:31,604 --> 00:51:32,832
or decrease it.
928
00:51:32,912 --> 00:51:34,389
Do one of them,
929
00:51:34,414 --> 00:51:36,870
so that the character looks more clean.
930
00:51:37,315 --> 00:51:38,999
That would be putting in less seasoning.
931
00:51:39,085 --> 00:51:41,793
So, deciding whether you should add more or less information
932
00:51:41,818 --> 00:51:43,271
when you're coloring
933
00:51:43,296 --> 00:51:45,506
is the most important thing.
934
00:51:45,600 --> 00:51:48,583
What we did today was an overall explanation of theories.
935
00:51:48,608 --> 00:51:50,384
Now, we're going to use them
936
00:51:50,409 --> 00:51:51,977
to actually draw.
937
00:51:52,002 --> 00:51:53,723
From now on, we're going to start with
938
00:51:53,857 --> 00:51:55,171
an illustration with a background.
939
00:51:55,196 --> 00:51:58,286
In other words, a full illustration.
940
00:51:58,311 --> 00:51:59,988
As you're doing it,
941
00:51:59,990 --> 00:52:01,361
we're going to compose a thumbnail,
942
00:52:01,386 --> 00:52:03,632
and apply the base colors.
943
00:52:03,885 --> 00:52:05,764
While we're doing that,
944
00:52:05,789 --> 00:52:07,248
we're going to use what we've learned,
945
00:52:07,273 --> 00:52:08,781
and change the lighting
946
00:52:08,806 --> 00:52:10,796
to change the overall mood.
947
00:52:11,287 --> 00:52:14,060
So, let's utilize what we've learned so far.
948
00:52:14,106 --> 00:52:16,085
This is the end of
949
00:52:16,110 --> 00:52:17,376
today's lecture.
950
00:52:17,589 --> 00:52:18,821
Keep up the great work.
67825
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