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Hello.
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Continuing on from last time,
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using the second illustration,
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we'll work on a fancy and aggressive illustration.
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Let's get started.
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Before that, let's do the color roughing.
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I'll show you parts that are good to pay attention to when coloring
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that I didn't show you with the full illustration.
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Let's talk about that.
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Let's move on.
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I'm telling you this,
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but the theories that we use as a result are ones
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that I've already shown you.
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You're going to use them over and over again.
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There's another example here.
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Let's move on to this one.
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Before we start,
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what kind of light will I give it?
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It's important to think about that first.
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But as I said before,
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for portrait illustrations, the lighting method
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has many restrictions.
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Today, I'm going to show you the frontal light.
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I'll use it.
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The coloring method is Hard Light, and Soft Light.
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It depends on the type of light.
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Subtitled by
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I'm going to add some Soft Light to this illustration.
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It gives a three-dimensional effect to the tentacles in the back.
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I don't think only using Hard Light is enough.
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If this section goes like this,
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you don't get the unique roundness of the tentacles.
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To make the tentacles look round,
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it needs to spread smoothly.
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It's going to have Soft Light to a certain extent.
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I'll increase the intensity of the light.
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I'll reduce the amount of shadow.
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I'm going to do that.
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When you add light and shadow,
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there are people who use Normal Layers.
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I'm sure there are people who apply Multiply Layers.
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If it's so hard to color each part,
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if it's so hard to paint different colors for each part,
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apply the Multiply Layer first
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and edit the color later.
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I want the color that I want to be applied.
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I recommend that you apply the Normal Layer.
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I usually use the Normal Layer more.
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Even if it's annoying,
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if you want the color to be applied here and there,
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you should use the basic framework.
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The order of light and shadows is different for each person.
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The way I recommend it is
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doing everything as a whole.
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You have to go through the most important factors first.
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First of all,
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you should know the overall flow.
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That's what I'm focusing on.
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Let's get into it.
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When I first applied light and shadow,
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if possible, turn off the pressure with Hard Brush.
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I recommend it.
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But while I was applying the light and shadows,
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if you're worried that it's hard to get the atmosphere right,
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to those people,
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I want to recommend this method.
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We're going to set the overall mood in advance.
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I said I'm going to use Soft Light.
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I'm going to do that in advance.
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Let's find out about shadows.
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When we color it, we give some shadow.
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There's the Cast Shadow,
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the Form Shadow.
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There are two types.
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If I add one more, it's Occlusion Shadow.
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Among Cast Shadows and Form Shadows,
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usually, we work on Cast Shadows first.
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If the contrast of the picture gets too big,
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I told you that I can block it with this.
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But today, I'm going to change that a little bit.
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I'm going to apply Form Shadow first.
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If you do this, the pros and cons are clear.
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The disadvantage is
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if you make a mistake, the contrast could get bigger.
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The picture might look like it's burning.
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If you can't control it yourself well,
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the good thing is that the way you color it
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is pretty simplified.
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I said that I would give this Form Shadow first,
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but I'm just going to make sure the overall Form Shadow is there.
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Form Shadow
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doesn't go into everything.
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The Form Shadow goes into the whole lump.
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When you shine it on this whole lump,
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the part that receives the most light,
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it's probably the middle part that sticks out.
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The parts that get less light
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would be the tentacles in the back.
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So, I'm going to apply Form Shadow.
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You have to make it big at once like this.
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I'm going to use the Multiply Layer.
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I'm going to create the overall shadow first.
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If this isn't enough,
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create another layer, and this time, with the Screen Layer,
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even the lack of light
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in the middle, like this,
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create it.
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If you go through this process first,
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it feels like the illustrations are tied together.
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Before, and after.
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It definitely feels like it's tied up.
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So if you do this before you go in,
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it'll be easier to work on it afterward.
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It's hard to get the nuances when coloring.
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No matter how hard you try to get the light and shadow correct,
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if you think your drawing is too distracting,
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I recommend that you start your first work with this.
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If you do it, it's the same as before.
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Let's continue to add the light and shadows.
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I'll give a bluish color to the light.
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The color of the shadow and the color of the background are blue.
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The color of the shadow
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should be a bit bluish.
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Let's move on.
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Use the Lasso Tool
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to do your work more quickly.
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There's no right answer for coloring.
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Just make sure you're comfortable with it.
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The important thing is that you follow the principles that are applied.
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So, depending on your coloring method,
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It's good to think about the pros and cons in advance.
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Always, no matter what,
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there's no method where there's only advantages.
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If there are advantages, there will be disadvantages.
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So, I'm going to show you how I'm coloring it.
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This is the advantage of the way you paint, and this is the disadvantage.
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I hope you decide that on your own before you go in.
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Even if it doesn't come out well, even if you tried your best,
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force yourself to do it.
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That way, when you draw later on,
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the part that you need to focus more on
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that you designated as your weakness,
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you can strengthen the advantages that you have.
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In the end, it's the process of studying.
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Like this, I don't have to do things that aren't set.
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I tend to force myself to get into it.
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What are the similar examples?
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In literature class,
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you might have seen examples like,
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as soon as the character saw a purple flower and expressed her feelings,
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this character likes purple.
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And purple is the color of death.
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So this character will die soon.
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There was something like this.
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When the writer was interviewed about it later on,
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he said it wasn't anything like that.
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He said he just liked azalea flowers.
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What's important here is,
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I'm not saying that the book was wrong in the first place.
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While analyzing it,
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that's how someone interpreted it.
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But you have to interpret and analyze it.
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And the process itself is studying
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When I draw later, I'll increase the accuracy.
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It applies to the drawing as it is.
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When analyzing the references,
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I think, that's why it's good.
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I think, that's why it's not good
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You can divide it up like that.
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I think it's good to create this kind of atmosphere.
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I'm going to keep clarifying those things and making them into words.
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To make it into a sentence.
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You keep increasing what you know.
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It might not be right for now.
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As you get older,
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or you just as you're drawing,
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those things can be flipped over and over again.
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It doesn't matter.
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Your drawing speed will be much faster that way.
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When it comes to expanding your skills,
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it comes out much faster.
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The parts that go in wrong,
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you can strengthen them later.
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Under the assumption that light will continue to come out from the center,
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I'll add some light and shadow.
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The shadow that I'm applying right now.
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Cast Shadow is the key point.
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Of course, Form Shadow goes in from time to time.
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Cast Shadow and...
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When people see important Form Shadows being put together,
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some call it a Core Shadow.
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It's not a specific name.
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It's the most important shadow in a simple illustration.
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It's okay to understand it like that.
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Even if it's a Form Shadow,
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focus on the parts that you think will look darker.
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I'll express it like this.
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Let's keep working on the dimensional effects.
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When we are working on a strong image,
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what's important?
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In fact, this powerful and colorful image,
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when working on portrait illustration,
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it's one of the most popular editing methods.
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In order to stimulate people's desire to buy,
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the illustration needs to be fancy.
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So, you need to know how to make it fancy.
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To be straightforward,
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the silhouette needs to be evident
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and the silhouette itself
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Subtitled by
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should be dense.
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Even now, with the amount of tentacles,
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you'll see that there's a lot.
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The fact that there are many things placed like this,
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it's not just because I wanted to draw tentacles.
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It's annoying for me to draw tentacles, too.
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But the reason why I put a lot of these is,
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using the tentacles for the overall silhouette,
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it's important that it is splitting.
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So, the silhouette that's been split a lot
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raises the quality of the drawing.
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Let's move on.
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Other than that, there's the silhouette itself.
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You can see that the end of the fog has been torn a little bit.
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I'll make it more detailed.
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The size of the particles will get smaller.
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We learned how to make particles smaller, right?
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The smaller the particle size,
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the higher the quality looks.
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By continuing to use those alternately,
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you can make your drawing more fancy.
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The strong feeling there is...
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it looks a little more obvious.
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That's the situation.
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When I was drawing a cute character,
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we talked about contrast.
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When I'm doing something that has a calm vibe,
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it's better to give less contrast.
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When you want to give a strong impression,
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I think it's better to be more prepared.
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I'll continue to use those.
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And let's continue to work on this.
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Whenever you work on the Cast Shadow
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be careful when you put it in.
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So that you don't forget anything.
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I forget it often, too.
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I focused on the big shadows.
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And I'll continue to make the overall composition.
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In this process, the drawing is almost complete.
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So the brush touch goes in later,
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but there are so many students
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who always focus on the description.
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Once again,
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it's not the description that matters.
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It's not about the description.
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As long as it's well-organized,
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and as long as you're prepared for that,
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from the perspective of the viewers,
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they will understand what you wanted to express.
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You'll be able to grasp the character's charm.
262
00:12:27,886 --> 00:12:30,501
And one of the charms of that
263
00:12:30,502 --> 00:12:31,510
would be the brush touch.
264
00:12:33,218 --> 00:12:35,729
It shows the artist's own touching up methods.
265
00:12:36,182 --> 00:12:37,544
Of course, it's important.
266
00:12:37,842 --> 00:12:39,685
It's not that it's not important at all.
267
00:12:39,710 --> 00:12:41,829
But you shouldn't be too obsessed with that.
268
00:12:42,404 --> 00:12:44,724
It's something that you can put in later.
269
00:12:45,063 --> 00:12:47,182
It doesn't change that it's an additional factor.
270
00:12:49,329 --> 00:12:53,651
Even if you don't put in touch,
271
00:12:53,652 --> 00:12:57,010
if you just focus on the shadow area,
272
00:12:57,035 --> 00:12:59,926
it can be used for actual illustrations.
273
00:13:01,371 --> 00:13:02,796
It's not that you can't use it.
274
00:13:03,475 --> 00:13:05,774
If you organize this neatly,
275
00:13:05,799 --> 00:13:06,975
it could be used for in-game illustrations.
276
00:13:07,000 --> 00:13:08,910
You'll be able to get that feeling.
277
00:13:11,678 --> 00:13:12,695
So,
278
00:13:12,697 --> 00:13:15,012
if you don't draw a lot,
279
00:13:15,013 --> 00:13:17,158
and if the touch becomes too dirty when you're coloring,
280
00:13:17,160 --> 00:13:20,598
even if you can't do the coloring in high quality,
281
00:13:20,623 --> 00:13:22,542
if you do it like this,
282
00:13:22,567 --> 00:13:25,616
you'll be able to get the feeling a bit more easily.
283
00:13:30,681 --> 00:13:33,133
If you succeed that much, you'll do it by experience later on.
284
00:13:33,158 --> 00:13:34,505
You'll continue to gain experience.
285
00:13:35,258 --> 00:13:37,124
Make sure to strengthen the brush touch.
286
00:13:39,246 --> 00:13:42,058
Then, you will draw your own high-quality illustrations.
287
00:13:45,803 --> 00:13:48,175
Metal objects have a big contrast.
288
00:13:48,200 --> 00:13:50,162
I'm going to give it some highlights.
289
00:14:10,948 --> 00:14:13,037
Items that shine like this,
290
00:14:13,141 --> 00:14:15,268
to make it look brighter,
291
00:14:15,293 --> 00:14:16,290
the source part,
292
00:14:16,315 --> 00:14:18,918
the wick of light should be close to white.
293
00:14:18,920 --> 00:14:20,612
You need to raise the brightness.
294
00:14:20,637 --> 00:14:23,703
The further you go from there, the more saturation you can get.
295
00:14:24,270 --> 00:14:25,735
Even if the saturation goes up,
296
00:14:25,760 --> 00:14:28,120
when you look at it in black and white, the tone gets darker.
297
00:14:28,586 --> 00:14:30,239
First, raise the saturation.
298
00:14:30,241 --> 00:14:32,173
Then, lower the brightness.
299
00:14:32,198 --> 00:14:36,477
If you adjust the material of the item that shines,
300
00:14:36,478 --> 00:14:38,163
you can express a bit more.
301
00:15:11,393 --> 00:15:12,481
On the character's back,
302
00:15:12,512 --> 00:15:15,088
to add a silhouette that looks a bit lacking,
303
00:15:15,241 --> 00:15:16,830
I've arranged the effects.
304
00:15:17,843 --> 00:15:20,415
To make this character look more intense,
305
00:15:20,440 --> 00:15:22,528
I'll teach you how to compose it.
306
00:15:26,585 --> 00:15:28,824
I'll make the shadow have a bluish tone.
307
00:15:29,194 --> 00:15:30,973
I'm going to make it look less white.
308
00:15:30,998 --> 00:15:32,700
To make this look stronger,
309
00:15:32,725 --> 00:15:33,573
what should I do?
310
00:15:33,842 --> 00:15:36,588
Should we focus on the bottom?
311
00:15:36,612 --> 00:15:37,856
Or should we focus on the top?
312
00:15:37,881 --> 00:15:39,814
I tend to focus a lot on the top.
313
00:15:39,901 --> 00:15:40,949
It's the same as that.
314
00:15:40,974 --> 00:15:43,130
So, as a result, like what we did in the beginning,
315
00:15:43,155 --> 00:15:44,772
among the cute and calm characters,
316
00:15:44,797 --> 00:15:46,441
it will look more like a cute character.
317
00:15:47,253 --> 00:15:49,601
And it is also intense.
318
00:15:49,626 --> 00:15:52,018
So, similar to the cute atmosphere,
319
00:15:52,043 --> 00:15:53,971
to make an inverted triangular silhouette,
320
00:15:53,996 --> 00:15:56,649
you need to add more elements to the top part.
321
00:16:03,480 --> 00:16:05,326
Let's place them simply.
322
00:16:06,801 --> 00:16:08,463
The fog that I put in here
323
00:16:08,488 --> 00:16:10,176
will be focused on the top.
324
00:16:12,101 --> 00:16:14,055
I said it's good to have a big contrast here.
325
00:16:14,094 --> 00:16:15,899
So to make a big contrast,
326
00:16:17,975 --> 00:16:19,796
I'm going to darken the edges.
327
00:16:19,899 --> 00:16:21,686
Let's make the middle area brighter.
328
00:16:24,123 --> 00:16:27,579
Or instead of making middle part go bright all at once,
329
00:16:27,604 --> 00:16:29,633
I'll make it go darker like this.
330
00:16:30,518 --> 00:16:32,036
And then it gets brighter.
331
00:16:38,948 --> 00:16:40,986
It's good to use strong elements like this.
332
00:16:41,011 --> 00:16:42,216
It will be very effective.
333
00:16:48,595 --> 00:16:49,689
Like eyes
334
00:17:07,256 --> 00:17:09,533
that are similar to Sauron's eye in 'The Lord of the Rings'.
335
00:17:09,558 --> 00:17:10,732
I'll draw eyes.
336
00:17:15,068 --> 00:17:16,712
They don't have to have a clear form.
337
00:17:16,737 --> 00:17:18,429
They really don't.
338
00:17:18,454 --> 00:17:20,401
I feel like I'm over there...
339
00:17:20,403 --> 00:17:21,419
It's okay to just do that.
340
00:17:24,491 --> 00:17:26,029
Using the Dodge Tool,
341
00:17:26,802 --> 00:17:28,121
make it bright.
342
00:17:34,013 --> 00:17:36,262
Add some effect particles around it.
343
00:17:38,633 --> 00:17:42,262
You can use lightning or liquids
344
00:17:42,287 --> 00:17:44,210
that we used before to give it a strong impression.
345
00:17:53,083 --> 00:17:55,125
As the scale gets bigger,
346
00:17:55,127 --> 00:17:56,901
there will be more elements.
347
00:17:56,950 --> 00:17:59,578
But on the other hand, you can't see the character's design.
348
00:17:59,603 --> 00:18:00,788
This is a flaw.
349
00:18:00,921 --> 00:18:03,437
So usually, with the characters that have original designs...
350
00:18:03,462 --> 00:18:05,913
the 2nd Awakening Illustration uses this kind of composition a lot.
351
00:18:06,533 --> 00:18:09,298
These days, there are many illustrations with a background.
352
00:18:09,323 --> 00:18:11,589
When that happens, like this,
353
00:18:11,695 --> 00:18:14,393
the background of the silhouette of the character is created.
354
00:18:19,797 --> 00:18:21,953
You can put in abandoned buildings or things like that.
355
00:18:23,256 --> 00:18:25,069
To suit your character's overall personality,
356
00:18:25,094 --> 00:18:27,214
give it a pointy look
357
00:18:27,239 --> 00:18:29,111
to harmonize everything.
358
00:18:38,247 --> 00:18:40,018
Whenever I work on portrait illustrations,
359
00:18:40,043 --> 00:18:41,438
the background needs to be transparent.
360
00:18:41,463 --> 00:18:43,416
It's important
361
00:18:43,441 --> 00:18:44,306
to neatly finish off the outer line.
362
00:18:46,119 --> 00:18:47,999
Otherwise, the background and the character will be mixed.
363
00:18:51,850 --> 00:18:54,434
We can't predict how the background will go in.
364
00:18:54,507 --> 00:18:56,889
Sometimes, when I do outsourcing work,
365
00:18:57,335 --> 00:18:59,766
There are times when they ask me to work in a certain way
366
00:18:59,768 --> 00:19:01,835
because the background of this character will go in like this.
367
00:19:02,954 --> 00:19:04,366
But it doesn't happen often.
368
00:19:04,368 --> 00:19:06,099
Most of the time, I don't know what's in the background.
369
00:19:06,124 --> 00:19:07,969
I don't know what I should do.
370
00:19:08,099 --> 00:19:10,398
So it's important to proceed
371
00:19:10,423 --> 00:19:11,999
so that any background can go in.
372
00:19:12,024 --> 00:19:14,493
When I work on my illustrations,
373
00:19:14,518 --> 00:19:15,653
it's one of the reasons I put gray in the background.
374
00:19:16,073 --> 00:19:17,665
Whether the background is bright or dark,
375
00:19:17,690 --> 00:19:19,872
I'm going to do it so that it fits the character tone.
376
00:19:20,478 --> 00:19:22,809
When the background suddenly gets bright like this,
377
00:19:22,811 --> 00:19:25,408
only the character looks a bit awkward.
378
00:19:25,999 --> 00:19:28,269
To reduce that,
379
00:19:28,294 --> 00:19:31,337
there are many times when I do it with a gray background.
380
00:19:43,691 --> 00:19:45,422
I'll apply lighting to the background.
381
00:19:45,921 --> 00:19:47,792
Let's keep improving the quality.
382
00:19:48,965 --> 00:19:51,414
Today, I'm going to focus on describing this character.
383
00:19:51,574 --> 00:19:54,170
Other than that, how to describe each lighting...
384
00:19:54,195 --> 00:19:56,241
We actually did it in the full illustration stage.
385
00:19:56,280 --> 00:20:00,209
I can't give these as much lighting as them.
386
00:20:00,234 --> 00:20:01,533
It's their characteristic.
387
00:20:01,558 --> 00:20:03,391
So today, from there,
388
00:20:03,416 --> 00:20:05,398
we'll focus on the description.
389
00:20:23,777 --> 00:20:25,567
It'd be nice to add a bit of glitter.
390
00:20:48,954 --> 00:20:52,321
I'm putting in the silhouette that comes up from the bottom.
391
00:20:52,547 --> 00:20:54,681
The difference from the silhouette that goes down is
392
00:20:54,705 --> 00:20:56,705
that you'll be able to look up a bit more.
393
00:20:57,781 --> 00:20:58,719
With this illustration,
394
00:20:58,720 --> 00:21:00,824
it's important to pull the viewer's gaze upwards.
395
00:21:00,825 --> 00:21:02,884
I keep putting it in like this.
396
00:21:04,649 --> 00:21:06,087
The highlights, too.
397
00:21:06,111 --> 00:21:07,349
Let's arrange them in advance.
398
00:21:14,220 --> 00:21:16,532
If you describe this tentacle too much,
399
00:21:16,557 --> 00:21:18,049
it could be a bit gross.
400
00:21:18,074 --> 00:21:21,112
So, I only described it simply.
401
00:21:21,720 --> 00:21:24,251
If it's shiny, it's kind of weird to look at, right?
402
00:21:45,360 --> 00:21:47,462
I'm going to add more elements.
403
00:21:47,486 --> 00:21:48,392
So, let's get to it.
404
00:21:48,416 --> 00:21:51,337
There are cracks in the characters on the floor, too.
405
00:21:51,361 --> 00:21:53,845
It's okay to put that at the bottom, too.
406
00:22:19,985 --> 00:22:22,124
Let's continue to compose like this.
407
00:22:29,720 --> 00:22:31,071
In the eye socket of the character,
408
00:22:31,095 --> 00:22:32,060
I'm going to add an element
409
00:22:32,084 --> 00:22:34,110
that will draw people's attention.
410
00:22:34,134 --> 00:22:35,829
At the bottom,
411
00:22:37,095 --> 00:22:38,735
there's a tentacle.
412
00:22:38,759 --> 00:22:40,595
There's an object that gives a strong impression.
413
00:22:40,626 --> 00:22:42,524
We need some elements
414
00:22:42,565 --> 00:22:43,821
that will draw attention to the upper area, too.
415
00:22:43,845 --> 00:22:45,071
For these elements,
416
00:22:45,095 --> 00:22:46,993
make the eyes sparkle
417
00:22:50,329 --> 00:22:53,142
and make the middle part of the hat shine.
418
00:22:53,657 --> 00:22:54,470
Like that,
419
00:22:54,494 --> 00:22:55,696
for the lighting,
420
00:22:56,538 --> 00:22:58,798
make sure the viewers focus on the face.
421
00:22:58,822 --> 00:23:00,322
It'll be an effective way.
422
00:23:02,114 --> 00:23:03,204
People always focus on
423
00:23:03,228 --> 00:23:05,056
where there's
424
00:23:05,081 --> 00:23:06,118
strong light.
425
00:23:06,579 --> 00:23:07,782
Please remember it.
426
00:23:07,806 --> 00:23:08,897
You have to use it.
427
00:23:33,095 --> 00:23:35,313
If this is the end,
428
00:23:37,048 --> 00:23:39,624
you can guess that the illustration is complete.
429
00:23:42,563 --> 00:23:45,142
This is how you create a strong image.
430
00:23:46,087 --> 00:23:48,001
I'll try to describe it a little more.
431
00:23:49,954 --> 00:23:51,454
So that you can
432
00:23:51,478 --> 00:23:52,969
see it strongly.
433
00:24:13,243 --> 00:24:15,098
The feeling of light coming out of the mouth, too.
434
00:24:15,099 --> 00:24:16,470
To make it clear,
435
00:24:17,782 --> 00:24:19,392
make the bright part really bright.
436
00:24:19,416 --> 00:24:21,595
Let's make sure to darken the dark areas.
437
00:24:22,767 --> 00:24:25,790
That way, you'll be able to focus more on the areas where the light comes out.
438
00:24:25,814 --> 00:24:27,446
For something to be sparkly,
439
00:24:27,470 --> 00:24:28,720
it needs to be dark.
440
00:24:28,744 --> 00:24:29,630
Remember that?
441
00:24:30,067 --> 00:24:31,352
It needs to be dark around here.
442
00:24:31,377 --> 00:24:34,207
So that the glittering parts stand out.
443
00:24:34,584 --> 00:24:35,977
Remember that,
444
00:24:36,001 --> 00:24:38,618
and let's make this area shine.
445
00:24:47,001 --> 00:24:48,531
And using this fire,
446
00:24:48,556 --> 00:24:50,934
I think you can use it as a linear element.
447
00:24:52,197 --> 00:24:57,080
Make the effect cover around the character.
448
00:25:02,501 --> 00:25:05,157
It's something that draws attention to the top.
449
00:25:06,102 --> 00:25:07,719
And let's move on.
450
00:25:08,310 --> 00:25:10,173
If you look at before and after putting it in,
451
00:25:15,830 --> 00:25:17,628
when there's no description,
452
00:25:18,103 --> 00:25:20,345
and when there is description,
453
00:25:20,369 --> 00:25:23,306
if you look at it, it has a strong feeling.
454
00:25:23,330 --> 00:25:24,626
So, you can concentrate towards the middle.
455
00:25:24,650 --> 00:25:26,779
You'll be able to see it keep going up.
456
00:25:38,845 --> 00:25:40,556
The lighting is blue,
457
00:25:40,580 --> 00:25:43,470
and the character's skin color isn't that strong either.
458
00:25:43,471 --> 00:25:46,212
When you add shadow, try to make it so that it almost has no saturation.
459
00:25:46,881 --> 00:25:48,657
So that it doesn't feel like a natural skin color.
460
00:25:48,681 --> 00:25:49,501
I'll give it to you.
461
00:26:06,292 --> 00:26:08,720
Let's add this color, too.
462
00:26:26,751 --> 00:26:28,142
A wick of light.
463
00:26:28,891 --> 00:26:31,078
I think it's the most focused on
464
00:26:31,103 --> 00:26:32,852
the middle section.
465
00:26:32,876 --> 00:26:34,243
The light is a bit close to a turquoise color.
466
00:26:34,267 --> 00:26:36,677
The further you go, the closer it'll be to a navy color.
467
00:26:36,702 --> 00:26:38,129
It's a great way...
468
00:26:39,110 --> 00:26:42,345
We need to talk about natural brightness.
469
00:26:42,370 --> 00:26:45,821
Everything has its own brightness.
470
00:26:45,846 --> 00:26:46,759
It's literal.
471
00:26:46,783 --> 00:26:48,337
What is the proper brightness?
472
00:26:48,361 --> 00:26:50,960
Even if I color pick a red one,
473
00:26:50,985 --> 00:26:51,970
it comes out like this.
474
00:26:52,907 --> 00:26:54,446
Even if you pick the top part of yellow,
475
00:26:54,470 --> 00:26:55,405
it comes out like this.
476
00:26:55,430 --> 00:26:57,306
If you look at this in black and white,
477
00:26:57,330 --> 00:26:58,962
there's a difference in the brightness.
478
00:26:59,126 --> 00:27:01,063
If it goes over to navy,
479
00:27:01,094 --> 00:27:02,255
even though we took the same photo,
480
00:27:02,279 --> 00:27:04,281
there's a huge difference in brightness.
481
00:27:04,438 --> 00:27:07,298
There's a difference in the brightness of each color.
482
00:27:07,323 --> 00:27:08,438
Use it.
483
00:27:08,462 --> 00:27:11,263
It's better to use different colors for bright and dark parts.
484
00:27:11,288 --> 00:27:12,220
It's very effective.
485
00:27:12,244 --> 00:27:13,767
I'll blend in the hues.
486
00:27:13,970 --> 00:27:16,626
The bright part is a turquoise color with high intrinsic brightness.
487
00:27:16,650 --> 00:27:18,771
Dark areas have low intrinsic brightness.
488
00:27:18,795 --> 00:27:20,540
If you put in the blue one,
489
00:27:20,564 --> 00:27:23,517
the concept of brightening and darkening becomes more definite.
490
00:27:23,994 --> 00:27:25,365
From a viewer's point of view,
491
00:27:25,389 --> 00:27:26,907
it looks like it's well organized.
492
00:27:29,063 --> 00:27:31,024
That's why for changing the hue,
493
00:27:31,048 --> 00:27:33,401
it's not like this is an absolute rule.
494
00:27:33,838 --> 00:27:36,059
If it's returned according to the proper brightness,
495
00:27:36,084 --> 00:27:38,206
the picture becomes more stable.
496
00:27:38,306 --> 00:27:40,290
So the closer you get to the source of the light,
497
00:27:40,314 --> 00:27:41,806
you'd use a lot of turquoise colors.
498
00:27:41,830 --> 00:27:42,970
As the light gets farther away,
499
00:27:43,251 --> 00:27:46,610
if you mix navy or purple,
500
00:27:46,634 --> 00:27:49,407
It's applied better with blue illustrations.
501
00:27:50,282 --> 00:27:52,040
It's the same with the red illustrations.
502
00:27:52,064 --> 00:27:54,376
For the red ones, use yellow and red.
503
00:27:54,400 --> 00:27:55,868
That's enough.
504
00:27:57,149 --> 00:27:59,032
If it gets worse, it'll go to purple.
505
00:28:09,501 --> 00:28:10,993
Sometimes, when painting shadows,
506
00:28:11,017 --> 00:28:11,959
there are people who color it darker
507
00:28:11,983 --> 00:28:13,720
for the edge of the shadow.
508
00:28:13,744 --> 00:28:14,681
Like this.
509
00:28:14,821 --> 00:28:15,837
Of course, this
510
00:28:15,861 --> 00:28:17,438
is a kind of lighting that can be applied.
511
00:28:17,462 --> 00:28:18,759
Unless it's a strong lighting,
512
00:28:18,783 --> 00:28:20,540
you don't get shadows like this.
513
00:28:20,564 --> 00:28:22,888
And if you give shadows like this,
514
00:28:24,227 --> 00:28:26,649
the edges stand out a lot.
515
00:28:26,790 --> 00:28:29,876
So if it's a simple coloring method, it's okay to use that method,
516
00:28:29,900 --> 00:28:32,392
and if you use it with a lot of description,
517
00:28:32,417 --> 00:28:34,445
it could be a bit burdensome to look at.
518
00:28:34,491 --> 00:28:36,165
So, whenever you put in a boundary color,
519
00:28:36,189 --> 00:28:38,575
when you look at the tone, it's going to be in the middle.
520
00:28:38,600 --> 00:28:40,415
Let's put it in while paying more attention to it.
521
00:29:02,212 --> 00:29:03,352
If you do this much,
522
00:29:03,376 --> 00:29:04,148
what do you think?
523
00:29:04,149 --> 00:29:05,735
Do you think
524
00:29:05,760 --> 00:29:07,157
it looks like a mobile game illustration?
525
00:29:08,876 --> 00:29:09,868
To be honest,
526
00:29:09,899 --> 00:29:11,532
when working on portrait illustrations,
527
00:29:11,556 --> 00:29:13,454
that can be one of your own evaluation criteria.
528
00:29:13,478 --> 00:29:15,251
What I've been working on right now,
529
00:29:15,384 --> 00:29:18,423
I'm not sure if it's okay for me to put it into the game.
530
00:29:18,447 --> 00:29:19,134
When you do yours,
531
00:29:19,158 --> 00:29:20,665
if you think it wouldn't be that weird,
532
00:29:20,689 --> 00:29:21,705
then that illustration is probably okay.
533
00:29:23,509 --> 00:29:24,649
But if it's not enough,
534
00:29:24,673 --> 00:29:26,899
then, we should focus more on the drawing.
535
00:29:27,505 --> 00:29:29,579
So for those who are preparing portrait illustrations,
536
00:29:29,603 --> 00:29:32,142
there are people who have a target game genre in mind.
537
00:29:33,681 --> 00:29:35,571
If you don't have it, I want you to make it now.
538
00:29:35,595 --> 00:29:38,134
You can make your own target genre.
539
00:29:39,618 --> 00:29:42,532
Focus on those kind of drawings.
540
00:29:42,596 --> 00:29:43,982
Even when we look at them side by side,
541
00:29:44,006 --> 00:29:46,282
if you don't feel they're awkward,
542
00:29:46,307 --> 00:29:47,610
then you can
543
00:29:47,634 --> 00:29:49,634
already get a job somewhere.
544
00:30:05,446 --> 00:30:08,187
But for those who want to practice,
545
00:30:08,275 --> 00:30:10,142
you can narrow down the target like that.
546
00:30:13,024 --> 00:30:14,720
In the end, later on,
547
00:30:14,744 --> 00:30:16,251
no matter what game you're outsourcing for,
548
00:30:16,275 --> 00:30:18,275
I hope you can have the right abilities for it.
549
00:30:18,299 --> 00:30:20,852
I'll tell you one more time when I finish my class, but,
550
00:30:20,876 --> 00:30:23,415
I hope students will ultimately
551
00:30:23,525 --> 00:30:25,329
have a completely different style than they did before.
552
00:30:25,505 --> 00:30:27,907
For example, for those who draw casual illustrations,
553
00:30:27,931 --> 00:30:30,118
even if there's a realistic style illustration,
554
00:30:30,186 --> 00:30:34,931
if I focus on practicing for 2 to 3 weeks,
555
00:30:34,956 --> 00:30:38,557
you need to become a person who can express yourself to a certain extent.
556
00:30:39,009 --> 00:30:40,235
That's what I want.
557
00:30:40,260 --> 00:30:42,344
This is the ultimate goal of an illustrator.
558
00:30:42,688 --> 00:30:46,101
In order for that to happen, the ability to analyze references is essential.
559
00:30:46,126 --> 00:30:49,712
The ability to decide things is critical.
560
00:30:49,736 --> 00:30:51,634
This is important when you draw realistically.
561
00:30:51,658 --> 00:30:53,188
In my drawing, I should do it like this.
562
00:30:53,212 --> 00:30:55,563
Such determination plays an important role.
563
00:30:56,102 --> 00:30:58,563
So, continue to improve on those things.
564
00:30:58,587 --> 00:31:01,165
If you become a person who can draw anything,
565
00:31:01,189 --> 00:31:01,985
for me, I think that person
566
00:31:02,009 --> 00:31:04,961
will be highly qualified as a professional.
567
00:31:07,774 --> 00:31:10,899
Of course, it's important to draw well.
568
00:31:11,368 --> 00:31:12,653
To make attractive pictures.
569
00:31:12,677 --> 00:31:14,899
Being popular is important, of course,
570
00:31:14,923 --> 00:31:17,001
but if you want to work as a professional,
571
00:31:17,025 --> 00:31:19,392
I hope you think about it as well.
572
00:31:20,212 --> 00:31:24,233
"I don't know if I'm a person who can cope with anything".
573
00:31:26,368 --> 00:31:27,782
There are people like that sometimes.
574
00:31:27,806 --> 00:31:30,118
If you're really good at drawing,
575
00:31:30,142 --> 00:31:33,720
if you don't have many preferences,
576
00:31:33,821 --> 00:31:36,657
or the content of the drawing itself is limited,
577
00:31:36,852 --> 00:31:39,087
or a case in which you aren't outsourced often,
578
00:31:39,346 --> 00:31:40,993
if that's the case,
579
00:31:41,017 --> 00:31:42,720
you might think it was because you weren't good enough.
580
00:31:42,744 --> 00:31:44,843
There are people who think like that, too.
581
00:31:45,407 --> 00:31:48,321
It could be true,
582
00:31:48,517 --> 00:31:50,024
but in most cases,
583
00:31:50,048 --> 00:31:52,048
you can easily get hired,
584
00:31:52,072 --> 00:31:54,477
more than you think.
585
00:31:55,548 --> 00:31:58,579
You'll easily be hired more than you think.
586
00:31:58,603 --> 00:32:01,563
But whether the person actually earns money or not,
587
00:32:01,587 --> 00:32:02,813
luck also applies.
588
00:32:02,837 --> 00:32:06,032
I don't know if that person can do various things.
589
00:32:06,056 --> 00:32:08,798
It depends on that.
590
00:32:10,860 --> 00:32:12,071
The characters that I draw often,
591
00:32:12,095 --> 00:32:14,563
they don't always come out right.
592
00:32:14,587 --> 00:32:15,923
A character that fits perfectly...
593
00:32:16,551 --> 00:32:18,892
Say a company needs a male character.
594
00:32:18,916 --> 00:32:20,506
If this person can draw a male character,
595
00:32:20,530 --> 00:32:21,532
then they'll be hired.
596
00:32:21,556 --> 00:32:24,142
But there are some people who are only good at drawing female characters.
597
00:32:24,166 --> 00:32:26,712
I don't think it's good to hire them for that work.
598
00:32:26,736 --> 00:32:30,829
So later, if you want to make money,
599
00:32:30,853 --> 00:32:34,125
and if you want to be hired to work in different areas,
600
00:32:34,150 --> 00:32:36,836
it's important to keep training yourself by drawing various things.
601
00:32:41,282 --> 00:32:44,524
You'll be able to see that the overall frame is set.
602
00:32:44,548 --> 00:32:46,220
When the frame is set,
603
00:32:46,244 --> 00:32:48,360
let's take a different approach.
604
00:32:48,587 --> 00:32:49,696
This time, really...
605
00:32:49,720 --> 00:32:51,524
It's only rarely used.
606
00:32:51,954 --> 00:32:53,907
Let's move away from the strong feeling.
607
00:32:53,932 --> 00:32:57,595
We're going to do an illustration that gives sentimental vibes.
608
00:32:59,251 --> 00:33:01,524
It's a sentimental illustration,
609
00:33:01,548 --> 00:33:03,352
but there's nothing specific.
610
00:33:03,376 --> 00:33:06,509
When it comes to sentimental illustrations,
611
00:33:06,533 --> 00:33:08,806
they're usually in low saturated colors.
612
00:33:08,830 --> 00:33:10,947
The part that shines is subtle,
613
00:33:10,948 --> 00:33:12,938
that's the kind of illustration I use a lot.
614
00:33:12,962 --> 00:33:15,110
Many illustrators from Taiwan
615
00:33:15,134 --> 00:33:16,649
use those colors a lot.
616
00:33:16,673 --> 00:33:18,118
So if you want to express
617
00:33:18,142 --> 00:33:19,743
that kind of feeling,
618
00:33:19,768 --> 00:33:21,071
what do you need?
619
00:33:24,657 --> 00:33:27,377
It's a perfect method for this character.
620
00:33:27,401 --> 00:33:28,286
This is because,
621
00:33:28,310 --> 00:33:30,533
the design of this character is mostly white.
622
00:33:30,582 --> 00:33:31,822
It's a monotone color.
623
00:33:31,987 --> 00:33:33,855
I'm saying that there's not much color in the whole thing.
624
00:33:33,880 --> 00:33:35,495
So, when you do that,
625
00:33:35,519 --> 00:33:37,555
from this white color,
626
00:33:37,579 --> 00:33:39,039
in the process of adding light and shadow,
627
00:33:39,063 --> 00:33:41,326
how would you change the color of the light and shadow?
628
00:33:41,350 --> 00:33:45,076
Depending on how you change the color,
629
00:33:45,100 --> 00:33:46,887
the mood of the illustration changes drastically.
630
00:33:47,953 --> 00:33:50,616
The layers that have light and shadow,
631
00:33:53,876 --> 00:33:55,424
these layers,
632
00:34:04,884 --> 00:34:07,278
back them up first.
633
00:34:21,433 --> 00:34:25,978
Just by changing the color of these layers,
634
00:34:26,305 --> 00:34:28,649
the feeling of the illustration changes a lot.
635
00:34:29,146 --> 00:34:30,360
But this...
636
00:34:33,663 --> 00:34:36,426
The color palettes in the back and the whole thing.
637
00:34:36,450 --> 00:34:38,180
I'm going to reduce the saturation.
638
00:34:54,650 --> 00:34:56,170
I'll reduce the saturation.
639
00:35:05,964 --> 00:35:07,455
I'll balance it like this.
640
00:35:07,479 --> 00:35:08,570
I'll create one Layer.
641
00:35:08,748 --> 00:35:11,347
The layer I'm going to use this time is the Overlay Layer.
642
00:35:21,816 --> 00:35:22,789
Like this.
643
00:35:22,813 --> 00:35:25,161
I'll paint different colors here and there.
644
00:35:25,559 --> 00:35:28,308
If it gets dark, I'll go straight to purple
645
00:35:29,409 --> 00:35:31,063
Near the part where the light is coming from,
646
00:35:31,087 --> 00:35:32,313
let's give it a blue hue.
647
00:35:32,919 --> 00:35:34,337
Or depending on the situation,
648
00:35:34,361 --> 00:35:36,944
if you want to curl this side up a bit, apply green colors.
649
00:35:36,968 --> 00:35:38,791
First, make it colorful.
650
00:35:48,799 --> 00:35:51,014
You can color it in a pretty way.
651
00:35:51,015 --> 00:35:52,468
There's no strict rule.
652
00:35:57,001 --> 00:35:58,798
But the usual condition of a sentimental illustration is
653
00:35:58,822 --> 00:36:01,134
having a low saturation overall.
654
00:36:01,298 --> 00:36:04,458
The point is to use a variety of hues.
655
00:36:05,167 --> 00:36:07,759
Since it's lowly saturated and has low contrast...
656
00:36:07,784 --> 00:36:10,950
The conditions needed to be the highlight of the previous drawing.
657
00:36:10,974 --> 00:36:13,833
There were things like strong saturation or big contrast.
658
00:36:13,857 --> 00:36:16,880
So, there's no saturation or contrast.
659
00:36:18,842 --> 00:36:21,956
That means that the seasoning becomes bland, if we compare it to cooking.
660
00:36:22,392 --> 00:36:24,096
Then that bland seasoning,
661
00:36:24,120 --> 00:36:26,014
you need something else to cover it up with.
662
00:36:26,229 --> 00:36:28,137
That's what makes it a hue.
663
00:36:28,162 --> 00:36:30,567
So instead of reducing the contrast,
664
00:36:30,591 --> 00:36:33,123
it's a case where you use a variety of hues.
665
00:36:33,210 --> 00:36:35,850
There are a lot of coloring methods like that these days.
666
00:36:35,874 --> 00:36:39,004
So the reason why border colors are used a lot...
667
00:36:39,028 --> 00:36:40,836
In a way, it's relatively recent.
668
00:36:41,484 --> 00:36:44,309
Recently, Taiwanese illustrations
669
00:36:44,334 --> 00:36:46,255
and Chinese illustrations became more popular.
670
00:36:46,279 --> 00:36:49,522
Among those who draw casual pictures,
671
00:36:49,546 --> 00:36:50,886
I can see those styles a lot.
672
00:36:51,115 --> 00:36:53,414
So even when you give it a border color,
673
00:36:53,439 --> 00:36:54,877
use different hues.
674
00:36:57,613 --> 00:36:59,749
It's one of my favorite coloring methods.
675
00:37:01,257 --> 00:37:02,938
I'll increase the number of hues as much as I can.
676
00:37:02,962 --> 00:37:04,451
The contrast will be decreased, too.
677
00:37:04,475 --> 00:37:05,467
We'll do it like that.
678
00:37:05,866 --> 00:37:07,448
As the contrast decreases,
679
00:37:07,472 --> 00:37:09,536
the drawing itself makes it easier to see.
680
00:37:09,830 --> 00:37:12,001
So when you want to give a strong impression,
681
00:37:12,025 --> 00:37:13,464
it might not be appropriate.
682
00:37:13,488 --> 00:37:15,097
The strong feeling,
683
00:37:15,121 --> 00:37:17,093
it literally needs to be strong.
684
00:37:17,118 --> 00:37:19,011
There should be a big contrast.
685
00:37:19,219 --> 00:37:22,150
In this process, the contrast decreases automatically.
686
00:37:22,174 --> 00:37:23,585
If you use a certain color,
687
00:37:23,610 --> 00:37:25,097
it's inevitable that
688
00:37:25,121 --> 00:37:26,426
it becomes less simple than the previous one.
689
00:37:26,802 --> 00:37:29,174
If you look at it in person,
690
00:37:30,231 --> 00:37:32,697
the first thing you look at at a glance is the former one.
691
00:37:32,798 --> 00:37:35,801
But it gives off a subtle glow.
692
00:37:35,895 --> 00:37:37,903
For those who like it,
693
00:37:37,927 --> 00:37:40,218
you'll be able to get a good response.
694
00:37:42,712 --> 00:37:45,924
So it's all about the situation.
695
00:37:46,893 --> 00:37:48,805
This one needs to be more intense.
696
00:37:48,829 --> 00:37:50,026
That's the way it should be.
697
00:37:50,064 --> 00:37:51,916
If you say so, then make it more intense.
698
00:37:52,096 --> 00:37:54,380
If you give up on the intensity,
699
00:37:54,404 --> 00:37:56,085
you may want to make it sentimental.
700
00:37:56,989 --> 00:37:59,245
It doesn't have to be strong.
701
00:37:59,269 --> 00:38:01,220
Then make it so.
702
00:38:02,678 --> 00:38:03,918
Illustrating is always like that.
703
00:38:03,942 --> 00:38:06,099
According to what you want to express,
704
00:38:06,123 --> 00:38:07,605
we do it little by little.
705
00:38:12,780 --> 00:38:14,881
When you illustrate for the first time,
706
00:38:14,905 --> 00:38:16,724
your route will change a lot in the middle.
707
00:38:16,748 --> 00:38:19,110
You might not express it the way you want it.
708
00:38:19,240 --> 00:38:21,724
When that happens, you can always give self-feedback.
709
00:38:21,896 --> 00:38:23,471
Do some self-feedback.
710
00:38:23,765 --> 00:38:25,609
This one is kind of...
711
00:38:25,633 --> 00:38:27,171
It has a mix of two feelings.
712
00:38:27,195 --> 00:38:28,698
This often happens a lot.
713
00:38:29,765 --> 00:38:31,603
Someone who's good at doing cute things...
714
00:38:31,627 --> 00:38:33,180
I wanted to draw something calm
715
00:38:33,204 --> 00:38:34,735
but it came out as cute.
716
00:38:35,261 --> 00:38:37,605
Or at first, there was a high contrast,
717
00:38:37,629 --> 00:38:39,039
so you wanted to give a strong impression.
718
00:38:39,063 --> 00:38:41,559
But after illustrating it, there was low contrast.
719
00:38:41,584 --> 00:38:43,400
It wasn't as strong as you thought or...
720
00:38:43,750 --> 00:38:45,843
You'll give yourself feedback like that a lot.
721
00:38:45,867 --> 00:38:48,222
Whenever that happens, remember those things well.
722
00:38:48,820 --> 00:38:50,460
And fix them later on.
723
00:38:50,484 --> 00:38:51,703
Even though it's like this,
724
00:38:52,585 --> 00:38:54,409
make it red all of a sudden.
725
00:38:56,101 --> 00:38:59,103
I went over the navy color and gave it some light and shadow
726
00:39:03,033 --> 00:39:04,537
and used a variety of hues.
727
00:39:05,962 --> 00:39:08,259
Even if you change the color, when you see it in black and white,
728
00:39:08,284 --> 00:39:10,021
as long as the tone is maintained well,
729
00:39:10,803 --> 00:39:12,789
within coloring,
730
00:39:12,814 --> 00:39:15,623
you can use hues quite freely.
731
00:39:16,690 --> 00:39:18,139
That's why when there's a mint color bead,
732
00:39:18,163 --> 00:39:19,559
even if I put orange on it,
733
00:39:19,583 --> 00:39:21,505
it's smoother than you think.
734
00:39:23,836 --> 00:39:25,489
When you look at it in black and white, the tone
735
00:39:26,180 --> 00:39:27,698
will be stable.
736
00:39:36,073 --> 00:39:38,416
If you want to make the beads look translucent,
737
00:39:38,440 --> 00:39:39,538
this is okay, too.
738
00:39:47,870 --> 00:39:49,532
I think this will break the dimensional effect.
739
00:39:49,556 --> 00:39:51,881
I think it needs to be bright on the top and dark on the bottom.
740
00:39:51,905 --> 00:39:53,765
Now break it on purpose
741
00:39:53,789 --> 00:39:56,086
to make it look transparent.
742
00:39:56,110 --> 00:39:58,637
To put it another way,
743
00:39:58,662 --> 00:40:01,216
you can say that it's three-dimensional.
744
00:40:01,240 --> 00:40:03,609
Transparent liquids don't have a three-dimensional effect.
745
00:40:03,683 --> 00:40:06,770
So you have to make sure it doesn't look three-dimensional.
746
00:40:06,794 --> 00:40:08,851
You can think of it as being more transparent.
747
00:40:10,775 --> 00:40:13,405
So, the bottom part that's supposed to be dark
748
00:40:13,429 --> 00:40:15,663
it's designed to be bright right now,
749
00:40:15,687 --> 00:40:18,412
so that's why this bead looks more transparent.
750
00:40:20,778 --> 00:40:23,517
It's the same when you color skin.
751
00:40:23,549 --> 00:40:24,513
When you're coloring skin,
752
00:40:24,537 --> 00:40:26,213
you may want to draw more transparent skin.
753
00:40:26,237 --> 00:40:26,949
To do that,
754
00:40:26,973 --> 00:40:29,115
please brighten up the areas that need to be dark.
755
00:40:29,529 --> 00:40:30,784
There will be disadvantages to it.
756
00:40:30,808 --> 00:40:31,814
What's the disadvantage?
757
00:40:31,839 --> 00:40:33,064
You can't really see the light and shadow.
758
00:40:33,173 --> 00:40:35,557
Then, it's hard to see the direction of the lighting.
759
00:40:36,077 --> 00:40:38,348
Since there's no clear shadow,
760
00:40:38,373 --> 00:40:39,683
the lighting won't come to life
761
00:40:39,708 --> 00:40:41,729
as you intended.
762
00:40:41,753 --> 00:40:44,395
That's true, but the clear feeling of the skin itself
763
00:40:44,419 --> 00:40:45,812
looks pretty.
764
00:40:45,836 --> 00:40:48,703
In an illustration where you want to show your character's skin with charm,
765
00:40:48,727 --> 00:40:50,351
it's a method that is used very often.
766
00:41:02,568 --> 00:41:04,693
If you look at it, rather than the lighting,
767
00:41:04,717 --> 00:41:06,010
the transparent feeling of the skin itself...
768
00:41:06,034 --> 00:41:07,838
You'll be able to see it well.
769
00:41:09,354 --> 00:41:10,794
With Japanese coloring methods,
770
00:41:10,818 --> 00:41:12,442
it's a method that's used a lot.
771
00:41:17,457 --> 00:41:19,799
Even in this situation, you can keep changing the hues.
772
00:41:19,824 --> 00:41:20,829
Let's get into it.
773
00:41:26,485 --> 00:41:29,332
Since a lot of blue was used,
774
00:41:30,263 --> 00:41:31,873
if you use a red color,
775
00:41:31,897 --> 00:41:34,452
There's a high possibility that this part will be highlighted.
776
00:41:34,644 --> 00:41:36,014
It stands out.
777
00:41:36,506 --> 00:41:38,152
It's all blue.
778
00:41:38,176 --> 00:41:40,083
If it's red, it will definitely stand out a lot.
779
00:41:40,108 --> 00:41:42,619
So, focusing on the middle part that needs to stand out,
780
00:41:42,643 --> 00:41:44,459
you're going to add a lot of red.
781
00:42:08,499 --> 00:42:10,077
Just like I told you, whether it's
782
00:42:10,101 --> 00:42:12,044
Taiwanese style, Japanese style,
783
00:42:12,068 --> 00:42:14,452
or Korean style... in the end,
784
00:42:14,476 --> 00:42:16,313
these are things that I decided on my own.
785
00:42:16,648 --> 00:42:19,076
That's how you study.
786
00:42:19,100 --> 00:42:20,652
Generally speaking,
787
00:42:20,676 --> 00:42:22,676
it's not all like that.
788
00:42:22,700 --> 00:42:23,749
The coloring method from Japan
789
00:42:23,773 --> 00:42:25,479
feels a bit flat.
790
00:42:25,504 --> 00:42:27,414
But the texture itself is pretty.
791
00:42:27,438 --> 00:42:28,863
There are a lot of times when the texture is emphasized.
792
00:42:29,063 --> 00:42:30,258
The Korean illustration has
793
00:42:30,282 --> 00:42:32,513
many realistic descriptions.
794
00:42:32,537 --> 00:42:35,290
The importance of description is high.
795
00:42:35,314 --> 00:42:36,860
It's a characteristic of Korean illustrations.
796
00:42:37,721 --> 00:42:39,919
So the description is very solid
797
00:42:39,943 --> 00:42:41,431
and it looks stable.
798
00:42:41,455 --> 00:42:43,330
The color itself looks a bit light
799
00:42:43,354 --> 00:42:44,821
and the skin looks natural.
800
00:42:44,845 --> 00:42:46,789
This doesn't happen often
801
00:42:47,549 --> 00:42:49,040
in Taiwan,
802
00:42:49,065 --> 00:42:50,938
which has low saturated illustrations.
803
00:42:50,962 --> 00:42:52,776
The point is to use a variety of hues.
804
00:42:52,800 --> 00:42:55,503
I use the tertiary colors very actively
805
00:42:57,477 --> 00:42:58,763
for it to be
806
00:42:58,787 --> 00:43:01,100
a sentimental illustration.
807
00:43:04,063 --> 00:43:06,653
In China, red is used more.
808
00:43:06,678 --> 00:43:09,317
While studying like that,
809
00:43:09,341 --> 00:43:10,603
I divided them up based on how I feel.
810
00:43:10,627 --> 00:43:11,827
Students, please
811
00:43:11,851 --> 00:43:13,209
share what you've drawn
812
00:43:13,233 --> 00:43:15,681
and think about it.
813
00:43:19,582 --> 00:43:21,143
I'm going to change the hues.
814
00:43:21,167 --> 00:43:22,371
If you continue like this,
815
00:43:40,391 --> 00:43:41,562
compared to the previous one,
816
00:43:41,586 --> 00:43:43,635
it will feel less intense.
817
00:43:43,971 --> 00:43:46,171
With certainty and subtlety,
818
00:43:46,456 --> 00:43:48,628
you'll be able to see that
819
00:43:48,652 --> 00:43:49,637
this atmosphere can be used a lot.
820
00:43:50,306 --> 00:43:51,867
So that you can see it better,
821
00:43:51,891 --> 00:43:54,133
let's make a fuss in the background.
822
00:44:13,777 --> 00:44:15,955
The bright part is mostly turquoise.
823
00:44:15,979 --> 00:44:17,791
For the dark part, focus on purple.
824
00:44:17,815 --> 00:44:19,815
It's the same here.
825
00:44:42,862 --> 00:44:45,313
Be careful not to make the contrasts too high.
826
00:44:49,888 --> 00:44:52,345
The contrast needs to be low.
827
00:44:52,370 --> 00:44:54,241
You can see the subtle atmosphere.
828
00:45:00,116 --> 00:45:01,731
In these soft parts...
829
00:45:01,755 --> 00:45:04,298
When you make a calm illustration,
830
00:45:04,322 --> 00:45:05,810
it'll be very effective.
831
00:45:06,175 --> 00:45:07,920
So when I make a calm illustration,
832
00:45:07,944 --> 00:45:09,745
hues like this
833
00:45:09,769 --> 00:45:11,286
fit very well.
834
00:45:34,744 --> 00:45:36,940
Use as little saturation as possible.
835
00:45:36,964 --> 00:45:39,077
Don't forget that.
836
00:45:41,863 --> 00:45:42,906
By pinpointing this,
837
00:45:42,930 --> 00:45:45,185
I'm going to use it to fix the saturation of the important parts.
838
00:45:46,046 --> 00:45:48,438
It's close to the concept of not using high saturation that much.
839
00:46:32,901 --> 00:46:34,429
Make the background dense.
840
00:46:34,453 --> 00:46:36,287
The characters can be simple.
841
00:46:36,311 --> 00:46:37,616
It's the same here.
842
00:46:37,864 --> 00:46:40,400
That way, the background and the character can be clearly distinguished.
843
00:46:45,244 --> 00:46:49,000
Density distribution, regardless of the coloring method,
844
00:46:49,386 --> 00:46:51,664
it's a theory that needs to be included.
845
00:47:11,436 --> 00:47:13,225
Before, and after.
846
00:47:19,256 --> 00:47:20,844
It's different to a certain extent,
847
00:47:20,868 --> 00:47:22,208
but this is also charming.
848
00:47:22,232 --> 00:47:24,424
That's how it's going to be made.
849
00:47:24,774 --> 00:47:27,862
The effects on the outer boundaries...
850
00:47:27,919 --> 00:47:29,919
I made it so that it fits the mood of the drawing.
851
00:47:31,256 --> 00:47:33,330
It'd be nice to add a bit of low saturation.
852
00:47:44,880 --> 00:47:46,374
On the edge,
853
00:47:46,567 --> 00:47:48,291
let's take it out in purple.
854
00:48:13,936 --> 00:48:15,265
If you make it like this,
855
00:48:15,289 --> 00:48:17,446
you can see the mood being set.
856
00:48:17,541 --> 00:48:18,930
Let's sort it out.
857
00:48:18,955 --> 00:48:21,530
Let's summarize what we've done.
858
00:48:23,797 --> 00:48:25,400
The character illustration.
859
00:48:25,601 --> 00:48:27,008
Portrait illustration.
860
00:48:27,032 --> 00:48:28,596
Same as a full illustration,
861
00:48:28,620 --> 00:48:31,288
they have the same ways for directing things depending on the mood.
862
00:48:31,312 --> 00:48:32,943
Nothing's that different.
863
00:48:32,967 --> 00:48:34,449
Additionally, today,
864
00:48:34,473 --> 00:48:36,822
I just told you how to make it sentimental.
865
00:48:36,846 --> 00:48:39,434
I actually chose this word, too.
866
00:48:39,459 --> 00:48:40,677
It's a Taiwanese coloring method.
867
00:48:40,963 --> 00:48:42,916
I think it's okay to look at it like that.
868
00:48:42,940 --> 00:48:44,474
It's a color scheme that you can see a lot these days.
869
00:48:44,498 --> 00:48:46,215
I wanted to introduce this to you.
870
00:48:46,239 --> 00:48:48,164
For those who like this,
871
00:48:48,188 --> 00:48:50,124
use it while being conscious of it.
872
00:48:50,148 --> 00:48:51,630
I think it'll be okay.
873
00:48:51,654 --> 00:48:54,140
The important thing is to use low saturation.
874
00:48:54,164 --> 00:48:56,952
Use a variety of colors to match the amount of information.
875
00:48:57,929 --> 00:49:00,042
And when you change the color,
876
00:49:00,066 --> 00:49:01,647
the area close to the light source is
877
00:49:01,671 --> 00:49:03,266
the color that has a higher specific brightness.
878
00:49:03,290 --> 00:49:04,920
The further away from the light source,
879
00:49:04,945 --> 00:49:06,842
if you use a color with low specific brightness,
880
00:49:06,866 --> 00:49:08,664
when you set the tones,
881
00:49:08,688 --> 00:49:11,128
and when you put it in black and white,
882
00:49:11,152 --> 00:49:12,677
it'll be more stable.
883
00:49:12,701 --> 00:49:15,042
It will help you complete the illustration.
884
00:49:16,691 --> 00:49:18,625
When you make an illustration with a strong impression,
885
00:49:18,649 --> 00:49:20,866
the feeling of shining coming from the light source,
886
00:49:20,890 --> 00:49:22,663
it's important to make sure the feeling is there.
887
00:49:22,688 --> 00:49:25,383
And in order for the gaze to come to the center,
888
00:49:25,407 --> 00:49:27,094
so that you don't look away,
889
00:49:27,118 --> 00:49:28,451
block some of the areas.
890
00:49:28,475 --> 00:49:29,900
That's also important.
891
00:49:30,016 --> 00:49:31,874
This sharp silhouette
892
00:49:31,899 --> 00:49:33,991
shows the character's aggressive tendencies/
893
00:49:34,277 --> 00:49:35,844
By using some kind of firework...
894
00:49:35,868 --> 00:49:37,556
Head from the bottom up
895
00:49:37,580 --> 00:49:39,374
and draw attention above.
896
00:49:39,398 --> 00:49:40,525
And so on...
897
00:49:40,549 --> 00:49:43,664
If it's an illustration that looks like a triangle,
898
00:49:43,688 --> 00:49:45,539
make the gaze go upwards.
899
00:49:45,563 --> 00:49:47,932
This is the cute illustration that I did earlier.
900
00:49:47,956 --> 00:49:49,339
It would have been the same way.
901
00:49:50,491 --> 00:49:52,357
Compared to the calm illustration,
902
00:49:52,382 --> 00:49:54,126
it became an illustration
903
00:49:54,150 --> 00:49:55,155
that draws a lot of attention to the top.
904
00:49:55,179 --> 00:49:58,359
Let's test how the gaze flows.
905
00:49:58,383 --> 00:49:59,447
Let's take a look.
906
00:50:03,775 --> 00:50:05,333
This illustration at the top is
907
00:50:05,357 --> 00:50:07,201
the type you'll see the most frequently.
908
00:50:08,069 --> 00:50:09,964
And then we'll look at the bottom.
909
00:50:09,988 --> 00:50:12,542
When the background goes in from this composition,
910
00:50:12,566 --> 00:50:14,451
you draw the character like this.
911
00:50:14,476 --> 00:50:16,327
The direction of the gaze
912
00:50:16,351 --> 00:50:18,550
and the posture of the character, too.
913
00:50:18,574 --> 00:50:21,019
The basic gaze flow is to go to the bottom left.
914
00:50:21,043 --> 00:50:22,805
I cut it off and went in.
915
00:50:24,412 --> 00:50:26,164
Why would you do that?
916
00:50:26,188 --> 00:50:27,286
I explained it before.
917
00:50:27,310 --> 00:50:29,346
Cut the gaze flow from time to time.
918
00:50:29,370 --> 00:50:31,656
And make the character have a stronger impression.
919
00:50:31,681 --> 00:50:34,395
On the other hand, it was to increase the viewer's concentration.
920
00:50:36,635 --> 00:50:38,195
The bottom part is the opposite.
921
00:50:38,219 --> 00:50:39,815
The flow of the character's eyes,
922
00:50:39,839 --> 00:50:41,178
and the overall flow,
923
00:50:41,202 --> 00:50:42,655
it's very smooth.
924
00:50:42,679 --> 00:50:44,324
It moves on smoothly.
925
00:50:44,348 --> 00:50:45,546
It's like this.
926
00:50:45,570 --> 00:50:48,420
The silhouette goes round at the bottom.
927
00:50:48,445 --> 00:50:51,341
You'll see there's a lot focused at the bottom.
928
00:50:51,834 --> 00:50:53,934
The character's hat and the silhouette...
929
00:50:53,958 --> 00:50:55,880
There's nothing that sticks out.
930
00:50:55,904 --> 00:50:58,984
You'll be able to see that it's settled calmly.
931
00:50:59,008 --> 00:51:01,029
So, it gives a very different vibe
932
00:51:01,053 --> 00:51:02,663
from the illustration at the top.
933
00:51:02,764 --> 00:51:04,379
The illustration that I made today
934
00:51:04,403 --> 00:51:06,987
uses silhouettes that stands out all over the top,
935
00:51:07,272 --> 00:51:09,388
so that the gaze that went down
936
00:51:09,646 --> 00:51:11,057
can go back up.
937
00:51:11,082 --> 00:51:13,308
And I made it so that it spreads out.
938
00:51:13,396 --> 00:51:15,716
What's the point of spreading it out here?
939
00:51:15,740 --> 00:51:18,252
It makes the scale of the painting look bigger.
940
00:51:18,474 --> 00:51:20,837
So we play mobile games.
941
00:51:20,861 --> 00:51:22,030
When I draw an illustration like that,
942
00:51:22,054 --> 00:51:23,515
there's a limit to the canvas size.
943
00:51:23,539 --> 00:51:26,448
It can't stick out from the standard mobile screen size.
944
00:51:26,472 --> 00:51:28,167
And we don't draw the background.
945
00:51:28,191 --> 00:51:30,828
It can't stand out, so in the limitations of the composition,
946
00:51:30,852 --> 00:51:32,187
that person is a little more...
947
00:51:32,211 --> 00:51:34,154
When I see this character,
948
00:51:34,178 --> 00:51:36,207
we need to make the silhouette look wider.
949
00:51:36,231 --> 00:51:38,117
In other words, we use optical illusions.
950
00:51:38,142 --> 00:51:39,758
If you put it in with an arrow, we go in that direction.
951
00:51:39,782 --> 00:51:40,809
It draws the attention.
952
00:51:40,833 --> 00:51:42,584
I'm going to use it to go outside.
953
00:51:42,608 --> 00:51:44,935
It's an illustration that draws your attention.
954
00:51:44,959 --> 00:51:45,830
It's like that.
955
00:51:48,623 --> 00:51:51,050
I used a silhouette similar to this one
956
00:51:52,863 --> 00:51:55,752
but the hues and silhouettes that rise above
957
00:51:55,776 --> 00:51:57,286
will be shown less.
958
00:51:57,423 --> 00:51:59,978
There's a lot of attention drawn to the bottom.
959
00:52:00,002 --> 00:52:01,192
It's like that.
960
00:52:01,777 --> 00:52:03,934
When I go into sentimental direction,
961
00:52:03,958 --> 00:52:05,837
since it's good to make it calm,
962
00:52:05,861 --> 00:52:08,763
as much as we did at the top,
963
00:52:08,787 --> 00:52:10,787
I preferred not to give it a dynamic vibe.
964
00:52:10,868 --> 00:52:13,573
So even in the process of organizing it,
965
00:52:13,597 --> 00:52:15,454
for the items that are rising,
966
00:52:15,478 --> 00:52:17,094
I didn't give any lighting to them.
967
00:52:18,375 --> 00:52:21,072
I didn't highlight the thimble in the back.
968
00:52:21,096 --> 00:52:22,492
Using those methods,
969
00:52:22,516 --> 00:52:24,680
so that the gaze can be focused in the middle,
970
00:52:24,704 --> 00:52:26,469
so that it can be calmer,
971
00:52:26,494 --> 00:52:27,570
that's what you need to do.
972
00:52:27,594 --> 00:52:28,920
The actual illustration...
973
00:52:28,944 --> 00:52:30,155
If you look at this illustration,
974
00:52:30,179 --> 00:52:31,945
the part that you see a lot,
975
00:52:31,970 --> 00:52:34,445
you'll be able to see the height difference.
976
00:52:36,741 --> 00:52:39,316
With portrait illustrations,
977
00:52:39,341 --> 00:52:42,151
make an illustration that fits the mood you want to show.
978
00:52:42,176 --> 00:52:43,785
So, the ability to compose
979
00:52:43,809 --> 00:52:45,120
is very important.
980
00:52:45,144 --> 00:52:46,441
Whenever you draw,
981
00:52:46,465 --> 00:52:47,961
think about these things.
982
00:52:47,985 --> 00:52:51,199
I hope you learn how to go into it while calculating things your head.
983
00:52:51,557 --> 00:52:54,694
I worked on a portrait illustration today.
984
00:52:54,719 --> 00:52:56,274
Full illustration, portrait illustration.
985
00:52:56,275 --> 00:52:57,641
I worked on most of them.
986
00:52:57,665 --> 00:52:59,566
I'm going to describe it next time,
987
00:52:59,625 --> 00:53:01,050
but whatever the illustration may be,
988
00:53:01,074 --> 00:53:03,543
you may have noticed that the basic framework is the same.
989
00:53:03,567 --> 00:53:05,340
The basic framework is the same,
990
00:53:05,364 --> 00:53:07,854
so whatever you work on,
991
00:53:07,878 --> 00:53:09,214
you should understand the structure well
992
00:53:09,239 --> 00:53:11,166
and apply it.
993
00:53:11,594 --> 00:53:12,988
That's all for today.
994
00:53:12,990 --> 00:53:14,205
Keep up the great work.
71535
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