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Hello everyone,

in today’s lecture, we will talk about realistic character concept production,

black and white bust sketch

While the components of the black and white sketch can be different for each client,

the sketch that is always present for humanoids or other character development

is the character bust sketch variation

The first impression of the character’s face, or the various design features

make the writer’s imaginary character more realistic

and at times provide strong motive towards the character story production

The reason behind using the black and white technique first is

for a more objective choice for the client

and to increase efficiency of variation or edit production

If you are able to

efficiently provide variation or edit

It means you can quickly, in a short time,

present your sketch work in a timely manner in color,

and can go straight into color sketching

First, I’ll open idea sketch note from previous lecture

and the mood board and image board prepared

based on the results of communication with the client

Let me also open the idea sketch on the side

Here is the mood board open,

and a separate reference board

for the portrait

Then, this is for the clothing

and this is the shape image reference

The most important thing in creating a realistic character,

is transferring the shape from the images and drawing them in a technical way

for a more realistic sketch work

For this task, there are various technical approaches

I will introduce a few methods I know about

A lot of these methods come from very old drawing masters

For example,

there are a lot of interesting images as you can see here

This is a method that is very prevalently used,

which is

drawing diagonal lines to split the image into small, pixel like pieces

This method was used a lot in the past when transferring

small painting into a larger one

So this has the distance between the lines and the faces

simplified with the diagonal and then drawing by transferring

Dividing the faces into triangles

when drawing follows the same principle

There is also a way to put the target to be drawn upside down

This disperses the constant focus of our eyes to detail

so that our eyes simplify the subject

into a clump

Or, you can simplify it by drawing a cylinder first

then adding form on top of it,

or cut angles when drawing such as with cylinders or robots, etc.

All of these methods are used to further simplify the shape

There is another unique method,

which uses mirrors and lenses

A key method used in the past involved mirrors,

which is called the completo mirror technique

There is a small device here as you can see

While this is also used as a lens,

you would normally

put a small circular mirror here, and

place it at 45 degrees and draw the reflected images

of the subject

Type completo mirror in Youtube for instance

, you will be able to see classes using this technique

So once you see that, you will be able to understand how this works and how you can draw this

in more detail

The subject is placed in front, then the mirror

reflects this

and you would trace the reflection to make the drawing

There is also a way to copy the subject

and draw it through a pinhole,

or you could draw using string and needle like this

This looks very funny

They came up with a lot of bizarre ideas

This image shows the method where a whole room is made

and you trace the image of the subject that is

projected in the pin hole

This is also very funny, so the lens is here and

if the subject comes in it would be projected in the paper upside down

Then you could use a pen

to overwrite the device

Here, you would transfer the reflection of the subject

and copy it to make the drawing,

and Vermeer painters,

or famous hyperrealism painters used this technique

This is when photos did not exist

Here is the completo mirror technique that I talked about

There is a mirror in front of this person,

placed at a 45 degree angle,

then there is another mirror in front of it

The image that intended to be drawn

should be around here

So it is reflected like this, and you draw by following the reflection

Here is the canvas

So, I talked about using diagonals,

splitting into triangles, drawing upside down, drawing with pinhole,

drawing with mirror

Out of the various techniques today,

which technique would be most efficient

when doing the most realistic forms or details

From all the old analog methods that you can think of,

which would be the efficient method that can even be used today

A few people doing fine art

actually use such machines

They still exist

However, what I want to talk about is from a commercial perspective,

in a company that draws basic drawings or concepts

we want to think about whether these methods are going to be efficient

All these methods are very innovative

and traditional, but they are also very inefficient

Especially repeat turnaround,

meaning quickly making a drawing on a particular topic,

creating multiple variations

and quickly receiving confirmation

I am talking about

such work patterns

For frequent, fast modifications and design confirmations,

these techniques are not very effective

Then, from what we have today, what is

the best technical innovation

in drawing concept design

You might think that I am asking a

very easy question, but it is the drawing digital tool

This refers to Photoshop or various painters

, tools that are dealt within the computer

The most important tool

that makes all ancient analog methods useless

is in Photoshop,

and it is the layer option

To discuss this in more detail,

all you need to do is take a picture of the subject

or create it using a 3D program,

then open this photoshop layer

and trace on top of it

However, there is a major misconception here

You should not assume that this tracing technique resolves

all concept designs

Tracing helps with the unnecessary production process in the design,

but it can never be the solution for designs

It is good if the tracing is done by someone who understands drawing well,

but it is useless if the tracing is done by someone who does not

This is not from me, but I am quoting a famous

historical realism painter, Bradley Schmehl,

and as he has mentioned

such technique is only used when it is considered the most efficient

in terms of design and is supplementary technology

Now,

let’s start with character face sketch bust

With the board reference

sketch right here,

we will use the sketch note

to draw this together

Before drawing a face of the character, I will briefly introduce essential basic form reading

and the principle behind writing structure

So for all faces

let me

put a layer first

when two faces are

created,

it becomes a form

like this

When drawing dimensionally,

we do this, and from here

if

the third face is added

a more dimensional

form that is easy to read with the eyes is created

Like this

The lighting is indicated here

This helps the form or shape

and the information to be easily recognized by the brain

Understand this principle well and apply it when designing the face

Here,

I have drawn a face shape,

assuming the face is oval, or egg

shaped,

the neck is right here,

and let’s draw some shadow

like this

From here,

let me try and divide the face in a simple way

If I

divide this,

then add shadow,

see how I have placed the shadow to be indicated on this side,

so let’s switch it like this

Now the shadow is done

Then I will now again

add a middle tone,

then I have added

highlights

here again

Let me add more details on the top of the bottom tone

while thinking about the structural form

This is an extremely simple form

that

looks like one punch man,

and from here let me just

softly add transition to the brightness

Select,

then make,

and while this face may look quite ugly,

this is enough to show

a sense of dimension

So,

if you see

this is the middle tone

right here,

then comes

the shadow part

here

Let’s just

call this half tone

Then

the highlight

This is enough to create a form

Since I drew a very uneven face form, it may

be slightly hard to explain,

so let me try

and explain

simpler with a sphere

Here

is a circle

I will draw it just like how I did it on the face

Shadow first,

then the bottom tone

We would also need a cast shadow

here

Cast means that when the light comes like this

in the form of a beam

it is casted as such with the contact with

the sphere

This is why it is called cast shadow

Then one, two, three

and a highlight here

While it may be different depending on the texture,

there can be this type of cast highlight

for any type of texture

It is placed like this, then

if you want to be more dimensional with this, then

smoothen it to finish

But here, let me differentiate between the bottom tone and the shadow

then add the shadow

The core shadow is very similar to the cast shadow value

because there is also lighting reflected from the surface

So, this part is

thicker,

then because

of the light bouncing out from the floor, it is not fully thick

and this

side becomes slightly brighter

This completes the sphere

I can go even simpler from here

and express it in terms of lines

One, two, three

and cast shadow

When I draw the shadow

I call this line

grouping where I

group the shadow with the lines here

I use this technique a lot

So when drawing the face when I am trying to make the face with an attempted shadow to be clear,

I intentionally form lines here for grouping

So if I do this, while it looks as if there is a line here,

let me try and select all of these

together

and make it smaller on screen

You can see that it now looks the same visually

The cubic effect on the sphere is apparent

This is because whether I use lines or smears

the recognition remains the same a sphere with a cubic effect

No matter how roughly I make this

let me show you another sphere

Let me make a rougher sphere,

I would make a very simple one

I will try only using lines

just like this,

and try this over here,

then just add some middle tone

like this

Then a highlight here,

shadow here,

then now let me shrink this

Even if I do this

our eyes can recognize

this as a 3 dimensional shape

it’s just looks rough

When you get closer

it looks rough

The three highlights, middle tone, and shadow

core shadow

this is all you need to know to apply cubic effect

wherever you want to

Now, on the more detailed face that I worked on earlier,

let me show the face sketch

to help with the understanding

How effective is this

Now,

I drew a face of some young man

I have traced this to an extent

Now, if the line drawing is completed like this

I could use the selection to fill this with a brush,

use a brush to fill the face like this,

or fill values like this

However, this moving line that fills the brush

also takes some time

So for me, I just simply make a selection

and fill the color on it

This can be very fast at times

This is why I have divided it

You can see the shadow here,

and since I am using a grey canvas

the grey tone is already there

So from the tone, this section

becomes the highlight for this person

which I have indicated as such

Then this

is another highlight that bounces next to the shadow

This highlight is a very artificial highlight,

and if you hit a highlight on the shadow like this

because of the contrast in brightness

it is stronger than

the highlight that touches the tone

So I have indicated a stronger highlight

right here

Then what I did is

just

smear with a brush

then add details for eyes, eyebrows, nose,

mouth, neck, ear

by filling up with the brush

As you can see, it is very rough

But when you see from afar, the face is already apparent

As such,

you can draw a face in a short time with very simple stages

I think this is a technique

that can save a lot of time

This is why I make a black and white sketch for a person

when I use this approach when looking at references

So that’s the basic face form

,how efficient sketches can be made using lighting,

how faces are formed and how the way lighting responds to them

can be used to draw shapes

Now, as

the warm up is more or less done,

let’s try using the idea note to draw a character bust

These are the sketch ideas I wrote down during the last lecture

Assuming I discussed with the client on what to remove,

what ideas are good,

what ideas are accepted and what else could be added to proceed,

I have added changes with the red mark and checked

whatever that were chosen

So for this idea

I am seeing the memo that is somewhat established

and assume that I am drawing by deciding what element

must be present

I will not use the mood board

right now

I will deal with the mood board

more later when I am creating the

story illustration

Since we have to first

do the bust sketch,

let me open

all the face references

You can see the face of the young man that I drew earlier

I made the drawing based on this model

The reference looks more edgy here

and in the drawing it feels smoother

I will work on this later.

First

let me open a new canvas

I always recommend sketching on a new layer

I sometimes start without a layer in the beginning,

and in this case, erasing it also erases the tone below the canvas

Then you can see white show up

So make sure that this is not that difficult

Just click the background with the spoid and fill to get rid of it

I am doing the filling task very quickly right now,

and I am using the action key

that I have shown you in the previous lecture

You will be using the fill a lot,

so storing the fill with an action key would be very useful

Now,

I have decided that the character is a male,

and is a veteran in their 50s

They could be younger, but let’s stick with 50s for now

I am still contemplating whether they should wear a Satgat

Let’s start with the character without the satgat on

For the hair, if you see the historical reference here,

I think this hairstyle is very cool

so let me try mixing this hairstyle with

the young man’s face, then

mix the beard,

then design the face features

further by adding some changes

I will keep the face of this young man as the base,

meaning the frame is kept as a base

So,

I sometimes make sketches like this

Before tracing, it is good to first use a colored line

to first

create a form to an extent like a quick sketch

With the nose here, just make a very rough drawing

along with shadows here

to more or less match the form

From here,

take this whole thing and place on top of the reference

Now try and adjust it

How big an adjustment are you able to make at this point

After fitting this to a certain extent

like this

return to the canvas, lock it,

and use it as a guide

Now you can start drawing it

The ear was somewhere around here,

with the lines like this

If you see the reference,

you can see that these two points are aligned,

the red line and the ear section

The eye has the eyebrow aligned with the line

then this other eyebrow is also aligned with this line

This eye is also aligned to an extent with this line,

as well as the nose is aligned with this line, which is already here

The alignment with the lips is at the ending point of the lips

For the chin it is slightly further down and ending at this point

It just becomes a kind of guideline to approximately make this determination

I saw that

some people

don’t do this

but use the classic way of

making small pieces

and drawing it this way

Divide this into sections

and based on deductions

they would bring it

then draw it

once again

But this is meaningless, considering you can

just place and trace on the top

So for me, these two methods are sometimes useful

I don’t use the diagonals like this, but I may use this

But even with this,

I used it in the beginning

because it is useful for making the images larger or smaller

but now

I don’t really use it when I am working When I am busy

what I would normally do is just bring

the image

and from hue and saturation

I just increase the hue

I make it brighter,

lock it and as I have said, just use the layer

to take the shape, meaning

taking the base of the face

Simply put, this is just taking the

base of the face

People who are very old school in drawing

may say that this is borderline cheating,

but a lot of great masters

between 1965 to 1988,

the famous illustrators

and magazine illustrators used this technique a lot

It is also used a lot in fine art

Since these tools were not there back then

they would resort to using projectors

or devices such as lenses or pinholes

and put a lot of effort in tracing

But in the 21st century, drawing became much easier

in that without a need for a light box This digital method

allows you to get the structure simply by drawing with the layer

With this structure

and the base

you can start with a different design This means

that the drawing process is

unrelated to the design

This was called atelier in ancient Europe,

and it is a sort of fine art like

drawing method

If I were to explain this, you draw like this

I made this shape countless times

I drew this a lot when I was younger

Draw an egg, find out the ratio,

form the square,

simplify, and so on

You would do this a lot when drawing Julien or Agrippa

This is extremely important

I don’t think this is bad at all

This is extremely basic

As Bradley Schmehl mentioned that

tracing is good when it is done by someone who can draw well,

but it is useless if this is not the case,

it is talking about the basics

or practicing the basics of understanding such structures

He said that because there is a big difference

between the tracing done by someone who has done this

compared to someone who has not

So, this type of training is a very important

structure training

When I was very young and was in Korea,

I have done this kind of structure training

and dessin

for more than 8 years

I stopped doing that after I came to the states,

and completely got away from it after I started working

The process,

it is because this was no longer efficient for me

in a speed wise

Also, since I have to draw a lot of realistic works

instead of individually drawing the

structure and completing it

to receive confirmation,

I have experienced that just taking it out

like this and instantly connecting with another design

, which is a lot more efficient,

so I use this method very often

There are times I am not able to do so,

which is

as you may be able to see from my Instagram,

pieces like this I have drawn this on a piece of paper

It’s on a very thick paper called hardboard,

a black and white sketch

Drawings

like this

is also a portrait

I can’t take this digitally

I could do it with a projector for instance

but I don’t own one, so

I practice this type of painting at times

When I have more time on my hands

and I start to have a kind of slump when working

in the digital format,

I intentionally drew on a paper

or on a sketchbook

and practice drawing portraits like this

This practice is very important

in expressing the structure more

because there are some things I leave out during tracing

So I am creating a build

for the structure construction,

and for the principles and concepts that build the structures,

too much tracing may lead to some of it being lost

Then, I would practice it by drawing on the canvas

This practice is important

Of course, when you are working, you are bound by time

and you have to match the deadline

, so you have to use any means necessary

to efficiently use the time

in drawing and making designs

But if such is not the case,

as you can see on the paper here,

draw the structure on the paper

then make a black and sketch by painting on top,

or practice with pencils for instance

This process is very important

and I recommend you try this out a lot

before moving onto digital

Now, coming back to the portrait,

let’s continue with the design

For the hair, he’s got a topknot,

a very simple one

When I look at the details

it looks tied up with a coiled head pad

So,

with this

the topknot would be somewhere around here

The hair on the sides

is very long, so let me do this

Now let me open the mood board first

The mood board shows the type of feeling I want to express

a hunter,

a dinosaur hunter in the Joseon era

is the concept we are working with

This would feel barbaric in a sense,

with a tribe like and

primitive feeling

How could I put this

, a Viking like feeling that is coming from being in

the forest and nature for a long time

What I wanted to express is

something like a sort of dull rock

If the hunter would go on hunts, this would be the environment I think

Foggy, humid,

so sometime between spring and summer in Korea

In the summer

around rainy season

with a tribe like feeling

I think this is also really good

with a primitive sense

and it looks as if they are living in

Let’s return to the painting

and reflect this on the face

Put an indication like this,

and I will

quickly do the blocking by using selections

When I am doing the blocking

I don’t select and then fill on it straightaway,

but I do select, copy, then on top

of the image

with the lines still clearly visible,

I use the hue selection

to change the intensity

One of the reasons is

that if I were to fill,

all the lines that I have drawn tend to disappear

But I want to keep this line

as a reference, and since

this can become a guideline, I usually keep the lines like this

Doing the cleanup later

is not very difficult either

I think it is important to leave

the lines

Now,

from the darkest side,

so the tone that is covering the face

the most when you see it,

you would start the targeting

and fill the color

, just like this

Let me erase slightly as it feels too strong

Then,

the highlight

This section seems to have the strongest highlight

Just see with your eyes

and first target the highlight that looks the biggest

Do the targeting like this

and adjust the tone

do the target selection

, and then start from the larger parts

This is because when you do the other details

there are limitations in the precise detail in selection

That would be done with the brush instead

, so leave those parts and fill the largest sections,

the sections that are easy to fill,

first

I am moving onto the brush now, from the eye section,

this part looks too sharp

so I will make this smoother with the brush

Draw the eyes like this,

and since the guidelines are more or less in place, if you know the structure

, you can

proceed as if you are coloring

Work on the forehead like this

Then I will use the smudging tool

to smoothly add transition

to just a few parts

I want to make this section look more bulging

for a more masculine image, so

while this is not in this young man, I am adding this from a design perspective

Instead of directly using the image, I continue

to make changes if there are improvs in the design

Without this, it would be no more than just copying

So take what you can from the image as much as possible

and make sure to get rid of or change things that are not necessary

Let me draw

so

that it feels more like this person

Living in the mountains,

he would have

a lot of wild beauty

Imagine that and keep in mind

while drawing

When you see people who eat wild animals

for instance

, you can see that their skin and everything about them is very tough,

because if you live for a long time in extreme environments like the cold,

the skin changes and so does the face structures

You adjust to the environment

A rougher feel,

I would want this to be cut more

on the flesh

Now let’s try and make him older, and to do this

when you see

how this part is

dented,

it feels like a very attractive point

He looks skinny and powerful

I am aware that the people in the Joseon era used to eat a lot

I was very surprised when I saw

the plates that they used in a video, it was enormous

and I could not believe

that they ate so much and yet so skinny, it was

interesting

I guess they used a lot of energy

which allowed them

to remain skinny even when eating so much

Because they didn’t have cars for instance back then,

and some people went around on horses

but most commoners would not have been able to

So they would have had to walk incredibly long distances every day,

particularly merchants who went around selling things

They would have had to be very diligent

to farm or to go hunting

Now, when I am coloring

I also make a temporary palette here, because

while I can use the hue selection

to go back and forth the hue option,

this kind of palette could be needed

to quickly check for the colors

I adjust the colors like this

and create a temporary gradation

which would allow me to make highlights or other things very quickly

I don’t want to use highlights that are too strong for now

Briefly draw the lips, and I don’t have

to fully draw the lips because

I am going to add a beard here

After this much is done, I will make another layer

Think of this as when you are climbing, you would fix nails on the wall,

take a step, then repeat this

It is the same principle

Because when I make a mistake, I can use the history

or Ctrl+z to undo it, but this has limitations

You can save from 20 up to 40 histories,

but if you go beyond that

you are not able to return to it

So I just make another layer

as a kind of insurance

Then let me indicate

the beard on top here

A man’s dream

This would make the character look older

The only reason I decided to use the face of a young man is the structure

I thought the nose bridge was nice

or the ridge I guess you could call it

I also thought the eye shape was good

and the forehead

also looked very strong

then the tone flowing through the neck

also looked very nice visually

So I am just going to leave those sources and

make drastic changes to the other things

When drawing the beard, you still need to always think about the structure

When you see here, it's not like the beard, but

just perpendicular, but there is a sense of volume

As such,

you can see a kind of volume,

so you would draw this while keeping the structure in mind

This is very long

I have mentioned that the highlight coming in contact with the shadow

is hotter because

of the contrast in brightness

Hot as in very bright So let’s make this brighter

and continue to draw the beard

Because of this highlight, the beard would also have some as well

Let me indicate that as well

The upper beard would also have the highlight,

and as you move down,

it would appear earlier

This became a sort of beard for a general

, but I think because not a lot of detail is there,

this kind of indication is fine

Add a highlight here as well

Older people used topknots that look like this,

and I believe this is made with very expensive material

So it’s made out of very thin, dried strips of horsetail or bamboo,

and not a lot of commoners were able to use it

So, most of the commoners

just did their hair like this

Now for the face,

let’s try and add some scars for a rougher feeling

I’ll add highlights to slowly move towards completion

Like a pockmarked face

I think there would be rough hair on this side as well

Now, let’s add

indications of Korean clothing,

and since there is a beard a shadow would be casted here

like this

Now my eyes are looking here

, because from looking at the reference

, I am looking at the chest structure again

With slightly messy hair

let me delete this first

I’ll make another layer in case I mess up

I think this type of feeling is good

Also, when you look at this person, the back is amazing

Let’s try to express that as well,

because if you can’t cut the hair, it could look like this

Back in the day, they considered

every strand of hair

is extremely precious

I will add a highlight here too

When I pick up the color for the highlight, I don’t directly use it

, but I use the split and select a color around it

This is reasonable, I think Now,

he might have some cuts on his face

that could have been caused by fighting with animals for instance

I would have to see the reference again to see the scars

made by animals

For cuts or any other details, make sure to

indicate based on a realistic reference

You could just say that people

will just believe this, which also works

, but if you want more historical evidence,

get into the habit of spending some time

for your researches

Make sure to do that

Korean people used to wear white, so I’ll just do this

with his good physique

This almost completes the bust

You could go down further to below the hands

or to the waist For that, you would

also need costume design

or clothing design to come with it

You have to look at the clothing design reference and research it while drawing

I will talk about that in the next lecture

Now, most importantly, you need to add soul to the eyes

the highlight

Add highlights like this

this is also very important because

a small mistake could change the direction of the eyes

Take some time and do the final touches properly

A cigarette,

like a long cigarette would also look cool

, but for the health sake,

let’s say he is a non smoker

A rougher feel here

Little more on the eyebrows

I added highlights so that the muscles above the eyes look clearer

Let’s try and make him more manly

This nose

structure, I added

more strength to it

This is what I am talking about,

the border line Keeping it is fine,

but if you do grouping like this

it becomes a more organized shadow

Also, this part is dull, so let’s add highlights to it

So, in this lecture

We have talked about the various methods for realistic character drawing,

the basic form,

and the lighting

To conclude, I will give you a few assignments

Before making figure paintings,

this is the training to quickly catch the form created by lights and shades

As training, draw a sphere first

then try and divide light and shade in various stages

The first is with the hand smudge tool

that I talked about at the beginning of the lecture,

so you can try and use this to make it look smoother

Or, you could add rough touches with lines

and try drawing the sphere

Then use this kind of thick brush,

and think about the intensity of a thick line

while making the shades in one go

So this would be training comprised of three stages

Try this out as well

When you feel you are accustomed to the sphere to an extent,

select an image of a person like this,

then try dividing this with three different values

If you are not used to using images or human references

and dividing it into stages,

Photoshop has a very good feature,

which is the filter feature

Within the filter feature, when you go to the filter gallery in particular,

there are various filters,

and if you use the cut out filter feature

it automatically divides the values on the image into stages

After you divide this, you can go to the hue setting

in hue and saturation, then reduce the saturation

to create three different stages of shades

On top of this, assuming you have done this division,

try adding details to it Try looking at references

and add details to this

Like this,

try

expressing

the details

I think this will be a good training to simplify the shades

when dividing them

In the next lecture, I will talk about an important part of

the character bust sketch process, the facial expression of the character,

and I will also discuss character impressions that can be added

with lighting effects

That is it for today

Thank you