All language subtitles for 12. Silhouettes and Compositions for Character Design Understanding

Hello.

Over the past period of time, we have learned about design elements and had some simple exercises to apply them to character design.

From this time on, I designed the principle theory of design for the character

Take a look at visual balance, based on future fluids and compositing.

As I mentioned last time, if the design element is the alchemical wine material, then the design principle is just as tired as the alchemical wine.

Simply put this material in Lysergic.

Multi-use does not guarantee what can come out smoothly, put this material in how much lower material.

Then only if I know what effect is the same, I can design as I like and also try to apply.

It's hard to make your own design, to follow someone else's design, or to repeat a similar form

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If you're doing persona design, it would be a good exercise to understand these principles and actively try to design.

From this time on, learning is not really something that is visible or necessary in character design.

In addition to my design, in order to check for myself whether it's awkward or what principles are hidden in a good design

I recommend that you definitely understand it.

Unlike the visual elements that we discussed last time, we will understand the concepts and principles behind the design of

It's more abstract and difficult to use words, a bit of difficult content for people who write lightly about design.

However, even if it's not character design, it contains content that is available in different fields and styles, so

If you have a desire for design yourself, I want you to definitely focus on watching it.

First, let me understand what visual balance and integration is.

When we see a design or an illustration, the

There are some parts that require concentration and less stimulation that naturally draw the eye over.

In the design, there are sea lights as strong as music and relatively natural flowing portents

Because it is also this strong in the design, it can be divided into a part that strongly attracts the eye and a soft transition part.

Some people usually think that painting is based on how realistically the form of the object is portrayed.

If one is only concerned with the depiction of such forms, then the painting becomes too heavily old and disorganized, the

Surprisingly, the design is often harder to understand for those who look at it than when it is abbreviated and painted.

Just like organizing the order of keywords in the design process, it is also necessary to visually coordinate what is to be displayed and what is not.

Therefore, illustrations without descriptions of sketches and other stages instead look better and convey more power.

There are times when it appears.

Usually, I make good sketches.

After finishing, it seems like there's not that feeling of distress for people who generally say to draw

Rather than not being able to portray enough, there is no understanding of the strong in the design.

It is important to control this strength in the drawing in a balanced way, but balancing this visual strength is called visual balance.

And this balanced visual configuration is called compositing.

The structure is like composing in English, which is interesting.

Some part of the design is the viewer that

need to keep you focused, and certain parts, on the contrary, you can create a space that facilitates viewing that

Thinking about these is planned and done in a design that allows the viewer to read the object with ease and enjoyment.

So, in order to harmonize this visual balance, what visually influences the flow of stimulus strengths and weaknesses of vision

what you should know, using these elements and principles to study your picture.

Before asking whether the picture reads as expected, etc. whether the target is drawn, first check for yourself whether the picture is caused as I intended.

So, the person drawing the picture before carefully zooming in and depicting their design

needs to examine the design with the viewer's eyes in order to see the outline from a distance and understand what the object has drawn.

It is necessary to check whether the visual balance is balanced because of the contrast of lines or area of the outline, etc.

With an objective view, quickly continue reading overall to see if the design is not too much strong or not strong enough.

So there's usually no reason to zoom in on the image when depicting the previous design that

while doing your homework, and periodically perform small checks on the image to confirm that the visual balance is appropriate.

Then let's look at the elements that focus the eye in order to balance the vision.

Usually, when you look at an image, the first thing you recognize is the darker and brighter color of the beryl.

This bailey has a strong contrast of sharp light and dark boundaries where the strongest and most focused eyes are.

However, in the process of drawing a design, it is usually not possible to draw something with darker and brighter colors directly under consideration.

However, in the process of sketching a design, you usually can't immediately consider something with a darker, brighter color to sketch it.

So, it's hard to take advantage of that value right away in a line based drawing process, but later on the sketch will be a little bit more refined that

This value should be valued when making pear colors and shadows, taking into account factors such as area and the flow of the line of sight.

There is a second silhouette, the image inside the outline of the design filled with a single color is called a silhouette.

The silhouette is one of the most important factors determining the first impression of a design, even without a high-density description of

Designs that create an impressive atmosphere are usually dominated by visual balance, which works well in silhouette.

The silhouette itself is cotton, but it can also be designed freely through the contour lines wrapped around it, so

The first step of the design is generally considered to be the part that is considered from the drawing onwards.

Consider visual stimuli and draw outlines that give a more visually diverse and original impression from the first impression.

However, if you approach only in the direction of dynamism and grandeur, the silhouette is distorted.

which would prevent you from perceiving the form, or the narrative that I'm trying to show.

It's best to keep the outline of being able to recognize what the object is, and gradually trim it down a little bit.

And the colors. The color of the painting, including black and white, is indispensable.

Subjective images in white and difficult colors can be applied to the design.

This relationship between color and color depends on whether the contrast, coordination or gradient is true.

As objective a description as the theory of light and color, the

The contrast, color, or saturation of shadows can be adjusted to focus the viewer's eyes and disperse their gaze.

Because color is especially important in character design where color matching is important, later, after the content on overall silhouette and composition is finished

Separate the colors only, I'll go to the community and explain again how to use them in the design.

And finally the layout.

Not just focusing on character design, but the spatial relationship between the target and the background, Leiye also determines the direction of the line of sight

is one of the important factors.

How much of the background is separated from the character, and how much of this red negative space is inside the future?

Overall, it is also useful to consider how the character is placed in the space, for example whether the aborted silhouette is simple or complex.

These factors are well outlined because they appear stable without having to be drawn larger even when viewed in a zoomed out manner.

Personally, when I first sketched in my character design illustrations, I drew very small, where I coordinated silhouettes and typography that

After successfully obtaining visual balance, its state is almost completely enlarged and it continues to do its job.

So Xi'an and the finished composite agree.

This way, working on the painting according to the plan not only allows you to concentrate, but also to have more confidence.

Let's look in more detail at those elements that influence the modification of the design of the silhouette composition.

The order to consider when checking the design is proportion and cool city oooh

and change the layout of the results produced by this whole.

Each element starts with a scale and affects the antecedent of the next element, just like the dotted line surface.

For example, simply say scale and leading

Instead of applying zero to the design separately, instead of just seeing the spacing ratio in the placement of the point elements.

The ratio of the length and spacing of the line to the line element when drawing it.

The silhouette shape composed of these outlines

This means to constantly check how the layer clothes made of these shapes and spaces are composed of prior elements.

So the proportions are important.

Here, the dragon and the layout are best checked again during the xian process, so this time the time

I'll concentrate on the proportions and lines that are appropriate for the character design.

So let's learn about proportions first.

There is a formula where our field of view shifts from large to small and the line of sight shifts to small to small.

The line of sight tends to focus on smaller and more complex parts than on wide and simple areas.

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Thus, in equal proportions of "size" or "spacing", 1 is less intense and has no line of sight flow, so it is stable and fixed.

Alternatively, a static effect will occur.

So that in the design, frontal and evenly spaced, the

or, if the line elements are not of uniform length, they are all uniformly oriented, or curved in the same way

If the variables are now arranged in the same size shape or proportion, it means that the overall strength is weakened.

Doors or lattice doors that account for equal numbers gradually see dimples on the surface of tiles, speakers, and microphones, and confirmation can be seen.

Xiangyou speed of equal, like stripes or waves of bamboo forest, can see this direction consistent.

There are some elements that are homogeneous, like the honeycomb, the orange cross section, or the wabalistic masses that

Because the faces are evenly arranged, it is possible to confirm that the static and strong are weaker.

Repeated even proportions are visually rare, the

Even if it's not a confidential final background or game aspect, it's often used in the background of some kind of merchandise and other images.

If used in character design, write such an average ratio where the density should be low.

So personally, I describe it with a grid or repeat the text back where I draw the frame, like in the background, to avoid splashing.

Conversely, if the perspective shows contraction, our line of sight goes from large to small.

If the off-shrinkage is gradual along both lines of sight, then the direction we see is more intuitive.

With this uneven scale, it is clearly possible to distinguish between large and small in terms of size or spacing.

First, for ease of understanding, I tried to understand the distribution of proportions in terms of faces.

In this way, if the design is large and the area of the mass house in the middle is smaller, it will produce a place where it can be used in addition to the flow of sight.

Large and wide, small and fine, the design can be fitted with details.

If you know an important formula, that would be great.

The smaller the area when the detail is larger than the area, the easier it is to effectively focus the eye and show strength.

Thus, a formula is that detail is inversely proportional to the size of the area.

So large that in large areas, details are relatively difficult to save, so the ratio is relatively large factor

Therefore, these line elements are long line elements, or distant points.

Larger face elements have a more uniform and simpler effect when filling in internal details.

These sections provide rest for the eye in the design, thus creating a sense of visual safety, and therefore when considering visual balance

As image detail increases, it is best to make these large elements larger and simpler.

The reason for this small area is that the detail of the intensive zone-branch appears, so you want to capture the line of sight in the design.

I like to bring together these little things in the vocal point.

The spacing is narrow, the layout is irregular and particularly strong.

But these dotted-line elements are very small, and not where they are clearly visible on first impression, in the first place

pulling the overall balance of the painting with very little impact, so the density and detail is not necessarily good.

This means that detail is not everything.

So in character design, when elements are divided into masses in this way

These two large and small elements correspond to each other, so it is more than important to match each other.

So, the smaller and finer the detail the higher in the painting the

That means that the big and simple parts have to be made bigger and simpler so that the visual balance is more appropriate.

In the picture of elements between large and small, or elements of the design that are neither small nor large

becoming central to the design narrative elements that

This narrative is something like props and devices that are used in the design to communicate key words to the audience

including the character's face, weapons, special effects clothing, props.

There are many parts of the character design that capture the main keywords and there must be parts that you want to show.

Blindly designing those things as big or too small or too tiny, they don't work.

The most important part of the painting is to take care of enough detail and still have proper visibility.

That is, in one design, big and small play different roles, but these two elements

Auxiliary for the large size of what you want to show in the character design.

for conceptual and ironic things that are not presented visually at a medium size in the design.

with large areas, small areas, and tiny details.

corresponding to each character, the small things that are big and simple, will be modified more finely, the

Need to balance the visuals.

When these two factors are balanced, the greater the area or detail ratio, the more dynamic and dramatic the design will be.

Conversely, if the difference between the two elements is not significant, the design will appear as cute, friendly, and subdued as a child's toy.

I'll look at examples and see the role of the popular institute.

When I draw like this one, I drew it with the reference called kelp, and it's very large and simple to see the wings.

The curve itself is both long and simple, compared to the other parts

compared to the human body of the character or the character's story of the knife, the fire, these jade ornaments, and things like that

Silver takes up the middle number.

So, these wings consist of very large sizes, so I need to bring the details together

00:16:32,057 The chest part that the view focuses on

These tiny ornaments, like the sword and the waist.

Very small and thin, so this big wing gets bigger, so in matching detail.

So, inside this large area, the dragon pattern and stuff like that, if you can see it, the face of this side

balance is not balanced, and even if you work on the design that goes into the larger part, it's better to make it look vague.

Conversely, here the line of sight is concentrated, the rest of the section is much denser, and the lines and the Zen master's hair are spaced even higher.

The colors are much more contrasting compared to the colors, and the spacing between colors is narrower.

This part is designed with a natural line of sight.

And the line of sight of people.

You could say that you start to see something from here, usually you see something small first, and then the line of sight extends outward and

When you look at a big picture, it's the effect of concentrating the line of sight from wide to the middle.

Like this character, the apron, the part, the pants and the jacket have a large design area, and the shape of this is very simple that

And the color is also the overall degree, the contrast is very weak, the strength is small, but it becomes the device of this character narrative, this hat

Or...

Like this, if you look closely at the baskets and stuff.

with high definition designs and sophisticated cats.

Written with lines with complex outlines such as tuna with high definition.

These signs and clothes require careful observation, the

Or there's a logo inside the hat and also in the back, if you look at these 15 days this part, or the ribbons these details

Look closely at the body of these characters and the concept of the fisherman, and I'll arrange it.

And look at the outside line.

Compared to the other parts, these parts that simply fall off become the narrative in this picture

You'll notice that the face of this character, or the outer frame of these hands that are carrying the basket, is much more detailed and much more complex.

And look at this design, if the cloak were gone, it would be cluttered.

Because of the inclusion of this large, long cape, the visual balance is more assured.

Even from a distance, the blade part of this blade part has a large area and less detail, the

Weakly strong because it is a simple outer line, but this moderately poor area of the handle and the middle part of the blade section

This part shows the shape of the wing that

You can only tell by looking closely

You can see that these decorations are concentrated on the edge end where the line of sight needs to be focused and on these connecting parts.

A similar theory is used for shields like this that

Overall, something so complex is clumped together, so the cloak must be put in so that the design balance is in there.

And look at the character, it includes the skirt and the sleeves that

Describe the part that is not very eye catching because the stripes are even compared to the other parts, or have little contrast like the white ruffles.

On the contrary, most of it is drawn very simply, so the density of the detailed parts is very dense, so it can be considered visually balanced.

Especially in the age seen now, these bags and hair books, etc., occupy a medium size

So your character is a student

If you look a little bit more closely, the character likes to be sure that the character is here to look closely, so do a layout.

This is an interesting concept for elite soldiers.

Inspired by an animal called this character sacrifice magpie.

Did you do the design with that continuous work, using the real magpie again with a different keyword?

So I look at the real picture and see how these large and small character assignments roughly appear.

We talked about mass proportions in design, so this time let's take a look at lines.

In conceptual elements, line refers not only to visible lines, but to the leading of abstract directions, like the flow of a potential or a line of sight.

Element that includes straight lines.

Simply, when drawing a side image or the outline of an object in the design, except for the Bayou color

it is very important to use this line.

And, when using the line to create the strength of the line of sight, the previously understood concept of proportion must be expressed in the good line that

is what should be there.

First, you can separate the lines with straight lines and curves.

Straight lines perform well in terms of structure, power and direction, and curves work well in expressing positive feelings and flow.

Because of the clear directionality of the straight line when delineated, and the flow of vision occurs more quickly, the

In a predominantly straight line design, the effect is very effective in showing the direction of entry into the target, forward structure and force.

Conversely, curves follow the line of sight through the point in the direction of the extension of the straight line, and are therefore good when emphasizing the continuity and flow of the target.

Also, the line of sight follows for a longer period of time than a straight line, so the curve of the silhouette appears with a greater sense of volume.

Even if only one effect is drawn, we feel the sense of speed and power in the curved part and the straight part.

Same for the peers, right?

Therefore, in design, curves and straight lines are suitable for their respective purposes.

And don't just focus on the visible contours, or these boundary lines that

or as abstract curved elements, like the flow of the line of sight, or both.

So, is there a fixed place for curves and lines to be used? Not necessarily.

The implication of this statement is that, just like this graph, the line between the curve and the line is blurred and

In design, lines can be divided into relative curves and straight lines.

Conversely, it is easier to distinguish between curves and straight lines if there is a significant difference in curvature, and works better when using each line.

Thus, curves can show structure, force and direction, but if you use relatively straight lines, the

If you understand that it's more effective, it's better.

Earlier in describing curves and lines, I briefly told the story of the flow of the line of sight, which is characterized by moving along a line that has the direction of the line of sight.

At this point, the time taken for the line of sight to move is called the travel link time.

Just as the line of sight goes from large to small, the line of sight should be focused.

Assign the mass small scale first to the main singing point, then set the direction and draw the outer line here

Using lines such as the direction of the flow of the line of sight, you can rhythmically adjust the time during which the line of sight remains.

Some changes are made in important aspects of the part of the design that you want to see.

If you continue the line of sight directly with the vocal point, the design has a sense of speed, but the advantage is

An overly simple flow can make the design monotonous and make the image not look like the following

Conversely, a picture with too much distortion in the line of sight wouldn't look very good, right?

So, we need to balance the flow of the line of sight.

Travel times are checked in a very short order.

In the design, we tell a virtual third part, with a strong, sight flow, if this part is too abstract

If it is difficult to understand, it can simply be understood as the dividing line that divides the object by the peripheral gift body on the outline.

Starting with the homogeneous example, let me look at it.

If the targets are equal in size or spacing, etc., or if the line remains the same, the line will become a simple line with no accents.

So, in general, the order of reading text - left to right, or top to bottom - the direction of the line of sight is a simple continuation.

Therefore, methods that should not attract the eye should be designed to increase density equally when filling or making large areas of detail.

Generally speaking, this tilt pattern and such are used a lot.

Now, if you see the orange part inside of this, we designed this area to get narrower in spacing, so the line of sight goes down.

The uniform ratio used inside is relatively a little bit stronger

and a flat image that doesn't feel directional at that time.

Like this part, because the very wide part is not the fill-in point, so at the top of this, the head and

And the side side agricultural secrets

Because on the yellow side, the view need not be strongly caught

The metaphor of parity is used inside to make the line of sight appear to be impartially stable in a particular direction.

The whole design is blue shaded and white

Since it's only color-based, we can't emphasize the color much, so we should consider where this line of sight is going.

So, at the top, or the outer layer where the design needs to be concentrated

After aligning the intuitive straight line of the wide and simple part, this line will not stay long and will naturally continue all the way to the other side.

The same irregularity of detail as in the black part.

Strong contrast with the yellow gold, while in the case of the white

The contrast is less, and the stripes fall in an even direction, etc., designed to avoid prolonged dwelling of the eye.

Or, some areas are large and drawn simply enough that

If this density is too poor compared to the rest, a design will be added to fill the density anyway.

Don't use vague patterns, decorations, homes, or letters at that point.

Fill the space with the usual common cut-and-paste or repetitive patterns that

Add density to lines that don't upset the balance, as they don't visually add strength.

Therefore, compared to curves, these linear elements are less strong and

These straight lines are generally auxiliary compared to the intuitive use of curves such as straight lines over large areas.

For example, characters are an overall direction, or most are curved

with the same potential and direction that goes into this inside the knife, or these stabs or something like that.

Ropes like this have intuitive straight lines, so the whole balances things.

If it were curved, the drawing would be a little more rounded.

In this design, the

The overall rounded side image of the

Prominent dips and bumps have straight lines that serve to aid the impression of the character.

Overall, if the human body has such a rounded part, it will feel the yang sense of this part that

It feels like the straight part of the body is relatively dominated by the sense of structure and directional meaning.

And sometimes the dimensions change.

Here, if the size interval of the target is small, the line of sight is focused to the directionality there.

Here, if the size interval of the target is small, then the line of sight is focused there directionally.

Usually, the spacing of props can be gradually reduced when placing equally spaced elements in a larger area.

As the spacing of the lines gradually decreases, the line of sight will move in that direction if the density is filled, so you can use vocal points to naturally attract the line of sight.

Size variation is good when using lines (such as the outline or folds of costumes and props) in character design, usually.

Clotheslines like this, which are usually spread from the top

So generally the effect of the human voice point in the head or the upper body when the line of sight moves naturally.

or using the toes to draw the line of sight.

If you use the line in this way, it will have the effect of focusing the eye on the toes.

If you narrow the gap in a certain direction with something such as a clothing line or an outer line, you will focus your attention.

If it can be shown vaguely.

a little bit looser, look at what you can see inside, and the view can move.

So, like a clothing fold.

What is seen on the outer side profile represents this change in size that determines the direction of the line of sight.

It's not very intuitive here, either

is the direction in which this skirt is rising and the necklace wings are shrinking upwards in an overall fine hair form.

If the interval or size of the arrangement is getting smaller, it means that the line of sight will be concentrated over there.

And this unity deconstruction is more important, if something continues regularly, and with the part of unity used

the line of sight will stop temporarily.

So, it's like the direction of the flow of the line of sight, and then the part of the line that is briefly interrupted, and then the part that briefly breaks the pattern.

In the line element, it is not only important, but the object is getting smaller and smaller that

In most design elements, for example, slightly larger, or the spacing will change slightly

When a place of uniform use appears, the direction of view stays there for a while and then continues in the direction of continuation.

For example, in this design, the line of sight extends from the bottom to the top of

The wrap belt suddenly twists its direction and pauses slightly as it passes through this section.

Adding something like the I important part of the line or something like that to this stop means staying in that part of the line of sight for a while before going up.

It's not visible next to this, but there's a map or something like that.

00:31:18,776 Same thing here, the eastern bird as a whole continues along the curve, and there's no point where it can hurt it that

something so contrasting across that the flow of vision is once broken, whatever detail there is in this part

means that we look more closely.

This design is also natural upwards, without doubts or blockages, so that the diagonal details go away.

Meaning that if Rozier, this part of the view will stop briefly, wondering if you want to look at this part.

Deconstructing with unity is a simple but effective way to control the flow of vision that

It is this unity dissolution that is most valued when focusing the line of sight with vocal points, and the natural continuation of the week without great importance of

This part also has some negative space that

Continuing in a natural way, the regularity of the 4 words is broken, there is prominence, and it follows again.

Here too, when straight out from this hair, this Kara part pops up and

This part will stay slightly out of sight.

Again, overall, it's made up of simple lines, and if you look from the tip of the hair or the tip side of the skirt

So much space, forming the silhouette that comes in and makes this part slightly more appealing to the eye.

Same here, there's nothing to see behind this, so I removed the silhouette in as simple a form as possible.

If you look at the iron, at the tip of the cap or the same part of the notch like this, the view is short, but you can stay, especially from the overall view

Looking at this one you can't see the regularity of the front, the silhouette is very concave and the details and lines are short, so

The line of sight is focused on this part. Meaning.

Can be written with these outlines, even if not lines, colors and values similar to the colors in between placements

When the part that breaks the uniformity appears, generally that part is the vocal focus.

So this deconstruction of unity does not take steps if it is issued indiscriminately, and overall the flow of vision continues naturally, the

It is better to change the direction of the line of sight only temporarily where it is needed.

Deliberate character if character design is completed but character illustration is not clearly visible.

Make the background a very simple shape so that the important parts of the character are outside the frame

If you mount it diagonally like this, you will naturally see the effect of focusing the eye.

Examples like this can often be seen in the work of painters like Norman Logue of American Commercial Fine Arts.

Personally, in my study of this silhouette or flow of vision, he referenced the work of a number of painters named Robel

Although the material of the image cannot carry it, generally such commercial art, because of the concentration of the viewer's eyes, is counterproductive, the

As you can see from that section, what you heard today is very applicable.

If the arrangement of these curves is not linear

The travel time is prolonged relative to a straight line of sight flow along a continuous direction.

In character design, you deliberately position the arrangement of something in a curved direction that

The line of sight passes through there and the travel time is naturally extended, making the design look more fulfilling.

In contrast, if they are placed with curves, they usually break the symmetrical structure, so as opposed to symmetrical designs

to think about visual balance.

Like these drawings, there's actually no visual drawing of lines in this, but I deliberately have some rests in the line of sight that need to be

strong positioning of the parts that should be focused on the branch lines, so that the direction of the line of sight becomes so natural.

So, even though there's not a lot of design in this, the picture looks full of the effect of these design elements

And, I can tell you that it works better when strongly positioned in the curve.

And if this abstract sight flow line is hard to exploit, then free curves like hair or effects hem

The travel time can be extended if the parts that can be applied to silhouettes are drawn as curves.

Like these hairs, or these feathers, which are really curved.

meaning that it's a much closer look at that part than when you're drawing with a straight line.

Where the uniformity is broken.

If a line perpendicular to the direction of the line of sight intersects, the line of sight will end there briefly and continue again.

The line of sight is interrupted, which works better in background design in places like cross-scrolling games, than in character design

Distinguish lines perpendicular to the flow direction of the line of sight when dividing the upper and lower body, or when you want to accurately distinguish between parts and components.

Overall, if used, the

is a painting

There are cases where it is useful to draw an outline with an X. This produces a very dynamic effect if you draw a certain outline with extras.

And it is taken for granted that this intersection point is the synthesis point.

For example, when the human body is stretched vertically from head to toe, such as a wrapped chest text or a powdered barge.

Or things like these lines that go across the car are different anywhere, so the parts will separate.

Parts that need to be distinguished in the character design, if they can be perpendicular to the continuous direction of the line of sight

The direction is an intuitively visible linear element, and the distinction is very effective once the element that breaks the unity appears.

Usually, when distinguishing between these parts and components, in order to avoid the feeling of simple isolation

There are these transitions, and these transitions have different effects depending on the type, which we'll look at later.

So, overall, when these designs create symmetry, the balance is improved and it feels more stable and static compared to the other parts.

Strength will become weaker.

Therefore, when divided into masses, the design elements corresponding to the larger pieces, it is valid to use symmetry to look stable if possible.

Conversely, asymmetrical elements create dynamics and strength, as the sense of balance decreases.

Instead, to regain a sense of balance compared to symmetry, be sure to adjust size and color, etc., for visual balance.

If the design itself is asymmetrical, if intended, there are ways to balance it in the overall pose and outline of the illustration.

When this overall synthesis fits as expected, any design can be stable and firmly balanced.

In order to match this visual balance, many people need to check the box in the character design, in the composite

Let me tell you briefly about the four lists.

First, in the design, can the prop or element clearly distinguish what the public

And to make sure that the roles of those that act as a place for the public are each sufficiently contrasted.

Even if it just takes full advantage of the proportions, the design balances the visual balance well and fits the respective roles here

Something big and simple, and big and simple.

The line of sight becomes a resting place, and the small and irregular elements must be dense to the point where the line of sight is concentrated in order to be more effective for strong conditioning.

So, whether it's a character's face or a weapon, where the narrative of the painting

The overall size is medium. In order to see clearly in the illustration and also to get the details, you need to adjust the scale, right?

and the third point.

As a result, I had to make sure that my character was drawn in a balanced way, even if it was short from a distance.

If the line of sight is focused naturally on where I expect it to be in it, then I think it's okay to progress to a certain point.

I can see other parts compared to the parts that I want to show properly.

Or, if the view is not more focused than expected, that means some kind of visual balance is wrong.

There is also the factor of whether there is a change in the time travel time of the line of sight movement.

You have to check if it's rhythmic.

The design is too simple because the props or devices are linear

Or, if drawing the outline is too complicated, or if the outline changes too little, the

the design may end unfortunately.

Therefore, the part to stabilize is to use regular separate or dotted and symmetrical ones, removing the strong

The parts of the view that must be focused are the asymmetrical, irregular, and unity-breaking elements that must shake up the flow of the view.

If the line of sight moves in a linear direction, then this center or trigger point

Line of sight places props in a curved pattern, which naturally increases travel time.

These lists not only include sketches and drawings, but also require constant confirmation during the process of coloring and correcting the images.

I hope I must check it myself.

I was personally very concerned about this visual balance, so before I did this work, in sketching and xian work

Accelerate the overall process of illustration, look at the approximate results, and see if the compositing is appropriate.

Only after confirming that it is sufficient on the benchmark, can we move on to this work.

Techniques such as drawing and coloring can be continuously degraded in this work, but when the overall composition starts to be fixed

it's hard to finish in the middle of a task that

If possible, I would double-check that xian work that was done after the creative sketch.

If you can, listen to this lecture.

Don't go straight to sketching, and hopefully Xian homework and quality once more attentive and distressed than usual.

Understand the basics of contouring and compositing for character design - visual balance.

One might think that character design needs something like this

00:41:22,446 but in fact these design theories are simple and not easily appreciated.

004 00:41:22,447 while repeatedly designing, to learn the feeling and skills to be able to use the content in various designs in general.

So in the following time, we analyze various designs that use this visual balance of static and dynamic design

And also, let's look at the line of sight and the human voice point with various examples of how people believe in Liao Jin Jiang doctors.