All language subtitles for 14. Silhouettes and Compositions for Character Design Intensive

Hello.

Until last time, we tried a static design and a dynamic design for character design and silhouette.

This time, than the design of the silhouette outline to emphasize the object based on the connection of props and props, etc.

Let me see how to disconnect.

This talk is the last hour of this character design presentation that I'm handling at Colosso.

The detail section is also covered in the character design, which is needed for the final touch-up of the character design practiced so far.

If you are interested in design while working on

I hope you will enjoy watching the content of this explanation and apply it to your work water.

First of all, until the past time you have gradually understood the design theory as a whole, you must have listened carefully to the character design only once.

In this state, you need to touch all the parts to be simplified and the parts to be emphasized before trimming the sketch.

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When you hear "what is simplification", you might think, "I've done serious design, why do I have to simplify?

Using a variety of keywords and complexity theory to construct designs that

00:01:23,033 you've probably designed more props than you thought, and very flashy designs.

In fact, the designs tend to be more effective in many ways than adding something.

So, the process of grouping and simplifying complex parts of the design is necessary.

The person who draws spends several hours of days planning and depicting his work.

You can see all the props in the drawing, but instead, if you are the one who looks at the drawing, except for designing a few characters

it's much faster to look at a lot of designs, so the tendency is to look at the design as simply as possible.

So, in order to make the character design more communicative to the viewer, many of the line designs have simple props and silhouettes that

become intuitive.

So, it is very important to make the design more memorable and accessible with only minimum elements in the character design.

This accessible design that

words may become difficult, you may have seen the closing of the character in the game you're playing.

The design is generally simple, the design is simple, the design is simple.

No matter which person looks at a character, there are only a few common elements that stick with me, because that's how the whole character design is realized.

For example, a representative simplified and visually displayed item on this purple Twitter

The wings of the headset and overall, the outfit is a simple hoodie and white pants.

If the keywords are so intuitive and the design is simple, then everyone who sees these things

When using my style, association becomes easy and easy to apply.

In terms of this character, I was inspired to create, in a show called Discode

Various talent roles of these characters have physical and design elements applied so that it's easier to get into

I'll try to simplify the design a little bit.

Conversely, too many props require the above details to be assembled in a design that creates walls between the workers and the audience.

So we have so many things that we want to show in the character design that we keep adding to the design that

The more points to see in the design, the less important the elements are, and the more complex the design is, the less communicative it is.

In this way, the person working may find it interesting, but the person looking at it has a hard time reading the design, so there are communication walls and things like that.

simplify and emphasize them, leaving only the three least important elements so that they don't get added or deleted.

It's best to focus on effective use.

Simplicity will only make the character design boring, so the emphasis will be considered together with the simplified design.

Applying size differences to the design of things like the deep shape of the human body will definitely make important items larger.

Some people may think that only cultivating him is emphasized.

In fact, emphasis is not just about excelling at target size.

Illustrates the shape of design elements, structural shapes, and a more visual representation of colors.

Therefore, the size of the size to be emphasized face size thickness face thickness edge or bump, etc. is not ambiguous.

It should be described more definitively and simply.

Especially a real feeling like mine, a casual sense of design is tasteful new words, including the human body of the figure

All elements of the design after the deformation of the form are very free

Using these post-forms makes the elements look simpler and the effect more favorable.

And, as you will no doubt recall, as the design goes through the stages of adding details, the more the keyword and time elements become less emphatic.

Therefore, if possible, it is best to clearly emphasize the parts to be emphasized in the initial process when the design is a bit rough and inaccurate.

In addition, commercial illustrations will also be found modifying other people's character designs, such as toning of traditional characters, secondary creations, etc.

Weakly emphasized designs in the original character design can become blurred as the stage progresses.

Also keep in mind that this is easy.

So, let me understand this simple I and emphasize what is needed.

It's usually easiest and most effective to simplify and emphasize the use of color schemes, but the book covers things

will be viewed in the next lesson with a focus on color matching, and this time, we'll look through it with a focus on what might be used in drawing.

First of all, for simplicity, let me understand what modifications are needed for the design.

The simplification process is generally done while modifying the design, so please refer to the description for that.

Please be sure to check if there is something that can be applied to your own work.

First, it's best to focus the spacing of props that are too far away.

At this point, when the props are close to each other, the center of view naturally follows.

If these objects are about the same size, they become too complex.

If possible, distinguish between large and simple major elements and small complex elements.

Also, it is better to unify the individual directions a bit.

It's good to make the direction that the main and western system elements just described are facing, so that the western elements can keep up with the feeling.

Usually, things that split and separate a lot usually have special effects like hair and ragged hems.

These individuals are divided into primary and western objects, uniform directionality, etc. There are so many cases where simplification is needed.

In your previous drawings, the hair was too large and undirected, the

The outline of something as big as the hem and the cape effect is not too politician industrial, so please confirm it.

If the shape of the object becomes too simple, then in the process of bringing the objects together and unifying the orientation

Just make those blocks slightly worse in curvature.

Let me look at some examples and see.

In this illustration, the

A lot of grass is gathered, and the main element, so to speak, is this large taro leaf most simply and intuitively facing upwards

Other western elements included are the small flowers that

There are also various gatherings, major and western are clearly separated.

As they gradually aggregate, they will naturally go to the bottom, and if they are of equal size

We may have difficulty focusing on the character Ehlers.

And also, this illustration also does an advance with the pandian that I just read

You can see that the glowing green is dotted together.

One of the parts with the greatest light intensity, while the rest of the elements are relatively weak light clowns.

The blind and the tee are not divided enough, so this is the most important, which looks more intuitive.

Even with the design, those important props dominating in the middle

Roughly, there are generally similar directions, confirming that the picture assembles the details so as not to be too mentally deranged.

You can see it.

Like this character design, the head of "Sinology is very large, very richly divided, and these are not divided into various directions.

With the simple direction of the comb, the small hair starts from the west side of the path, and this directional unity.

The design is simplified.

If these hairs spread in all directions, then the silhouette becomes complicated and

We realize that the hair is going to be slightly more complicated than we thought.

Especially when drawing long hair, this is usually the case, if possible

It is better to use a curve of similar curvature if you only eat a large piece and pour or serve in the middle.

For example, when you say in this way that the hair is quite diffuse, if you say that you don't like every clump to be too simplistic.

you can see that every age is the same.

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The difference in curvature is a little bit different, the

Because the folding points are different, there is some uniformity, so the hair is easily perceived, I guess.

If you zoom in on these fine hairs, they extend in a similar direction, rather than spreading out with each hair.

There are differences in curvature, and only those things that are very thin deviate from the direction of curvature that

When you look at this hair from a distance, you can make it simpler.

Not only the hair, but even if some details are gathered, it's important to unify this directionality to some extent.

The whole design is unified, the

When you look at the picture from a distance, it's also easier for the people you see to become aware of the design when you look at the picture as a whole.

And long lines are not distinguished by short lines, and the shape and form of the object becomes too complex if similar lines are clustered together.

If possible, it is better to use long lines mainly and short lines with serves.

For example, like this photo, small buildings have very short outside lines, so it takes a long time to identify their shape.

Like in the case of the starting path, it's relatively easy to recognize this path because of the simple and long trapped lines, I guess.

Similarly, Lee Sun-hee's one includes something like the stream of sight in addition to the hair-like true lines.

If it is difficult to apply, just look at the outline of the character design first and then verify that it is not bent too much.

Simple and long lines do exist in the silhouette, but the strength of the line of sight can be steadily pushed in a shorter direction.

Look at these examples of long lines well done, see how they are used, and see how they are exploited.

Inspired by a theme called Hellscape, like character design

If you look at it, the skirt that drops greatly in the back, or this long grass skirt or bow or something like that, it does use a long line to indicate that.

So, if this ribbon is short, the

It should end with a detail where the detail really needs to be concentrated, instead of having the effect of distracting the eye, right?

So, to fully show the role, it's better to use a long line to fully show the role, than to use a more intuitive long line than the other parts.

Even when you write lines like this character design, if these chains and stuff are laid out in too short a curve

because it's more lacking in intuition, so when you look at it from a distance, you can see it as a very long line

Most of the details, including these peripheral hands, are done using long lines.

Instead, the part that the line of sight should focus on is the relatively short hand used, the tip of the second staff or the hair of the abdominal muscles

One side of the hair side of the chain than the rest of the part with a shorter line, can be good for detail.

Even with this design, the dress itself is not very decorative, the

Be sure to use long lines in places like the hem of this coat or the pants, and use accessories or hair tresses of the sight.

And, in those parts like chains, I used slightly shorter lines to make the longer lines more intuitive and visible in the design.

Then finally look at the overall outline of the character design, the protrusions or the blurred empty spaces from the overall view.

If you have negative space, it's best to take care of those parts naturally.

Negative space is a way to take advantage of the fact that strong is a more important part than you think, so it's not simplistic, but you can take advantage of it when it's strong.

Overall, if a part of the blank suddenly pops out from the side image, that part will not be simplified and the line of sight will be missed.

There is such a desire to catch the eye then.

Deliberately changing the silhouette in that part is also a good way to go.

So, when we do the design

If the negative space becomes more than needed, it should be modified by attaching an outer frame or removing the white space.

Again, look at the example while confirming how the negative space is organized, so the picture of a waterway design or something like that

To make it feel more subdued and calm, I made the design without any particularly prominent parts or empty sections in the painting.

The parts where the view is caught, in the face and behind, only the metal detector and the waist temporarily use negative space.

The rest of the section suggests minimizing the negative space so that the overall shape of the body can be visualized when viewed from a distance.

Therefore, I wrote quadrilateral and curved contours instead of minimal design dynamics

Thus, with the minimization of the negatives, we can understand the design more intuitively.

In this design, like the internal wrinkles and these traces

Because the contrast uses strong color differences, the silhouette needs to be extremely simple.

So, let's look at this design in silhouette, it's the end of this coat, except for the hair side, which is negative space.

No I can also confirm the elongation with very simple lines.

This design also does not require the pose and the concept itself to look dynamic

To reduce the negative space, including the design, we minimized the grid to negative.

but rather where the line of sight should be away from.

When negative space enters the waist dance, or when there's a gift box

Let the eye finally turn this way.

The same is true for the quilt section, the main keyword of the design, making the negative space more intuitive.

So, if the design is somehow organized through a simplification process, let's see how we can emphasize this design in a more communicative way.

Emphasis is part of what determines the first impression of a painting, so it's usually easiest to utilize Bayliu and color that

Including this section, we will learn how to make the parts of the design to be emphasized look more intuitive in the drawing.

Same as Simplify

While listening to the content of the instructions, please double check if there are any changes to be made in my design while watching it.

The first way is a repeat.

If the same pattern or shape of structure is repeated over and over again in the design, the design becomes prominent in its overall unity.

In a certain way, it's as if certain words are mentioned all the time in the paragraph.

Like colors or shapes, it is best to show repeatedly in the whole what might be used as symbols in these character designs.

Repetition is only emphasized if it is as intuitive as possible, so with color, if available, printed color or

White black these simple colors are good, if it is a logo, simple and become a symbol of the shape will be more intuitive, right?

Or a symmetrical design of the logo would also work better.

Objects and flora and fauna inspired by me

Designs in which the object's most representative colors, structures, etc. are repeated over and over in the design.

For example, like the bag here, we use the pins Vine pins Torrest logo on various large head pins of the theme design, the upper part of this pins

As with the mortar, it can be confirmed that the cylindrical shape with the concave center is used repeatedly in the design.

Throughout the design, even in a role like this one, it focuses something attractive that

Repeatedly, you can naturally see the effect of keywords or design elements that emphasize this character.

It may also be useful to emphasize the metaphor.

When similar objects of vague size are clustered together, they feel safe overall and are not emphasized.

Increasing the object to be emphasized is first and foremost a way to increase the weight on the screen that

Of course, design props look more intuitive.

If you can't cultivate that object, you can reduce the size of the props other than the object to adjust the overall scale of the method.

In this process, it is recommended to effectively organize the size ratio of the large and medium stations, if possible.

Similarly, when designing, we take inspiration from objects or flora and fauna

It's good to make it look intuitive.

For example, in character design, a more intuitive analogy from top to bottom.

and zoom in on it.

Taking the chameleon as a model.

Please actually increase the size so that the official part of the sample and the tail look more intuitive on the screen.

As well as eliminating uniformity is also emphasized.

The part of the rule-breaking uniformity that is broken is naturally emphasized because the strong will become very strong.

Uniformity disintegration was also mentioned in the last time, so it can be very effective to be strong in design, so

This is very useful in terms of emphasis.

There must be a regular pattern of line colors in the painting.

The rule is broken, or vice versa, which can easily be emphasized.

So in fact, unity deconstruction is being written in various ways not only in redesign, but in most of the wonderful character designs yet.

Break up the uniformity with outlines or colors for the parts that everyone also wants to emphasize, and it's even better when applied in drawing.

If the uniformity cannot be forcibly broken, then the repetition, the regular simple pattern of parts other than those to be emphasized, the

The use of design elements in the silhouette, if any, naturally produces the same alien broken parts of the main singing point.

For example, in this new material, it usually emits an earsplitting sound and has a more intuitive orientation.

Its unity is broken in the part of the head side so short broken curve, negative space.

The only part that

Similarly, on one side of this teahouse, the collection of small shapes ends with the tip of the hand

would break more uniformly.

Therefore, the concept of calling this role a "post office" would be slightly more emphatic.

Simplifying the structure is also a good way to emphasize it.

A simple structure is not really necessary, but an overly complex structure or shape is surprisingly

It can be difficult to see what it looks like, so those fuzzy bumps that are too thin are easy

that can be changed more effectively.

Ambiguous thicknesses do not emphasize dimensionality at all, so it is best to visually divide the child between thin or sturdy thick parts.

If these zigzags are too vague, shapes do not appear well, so simplify the structure and show the shapes accurately that

The description is simple and looks intuitive.

So, these parts of the cap and the sleeve and so on

To make the cylindrical shape look a little more intuitive, we try to squeeze these decorations and then describe them.

Instead, like the scarf or the brim part of this hat then, it does add a sense of thickness and make a separate shape.

So overall, the result of this design is this.

So the design will emphasize the part that I expect to emphasize, the

The simplified parts become simplistic, making it easier for the viewer to realize the design I want to show.

In a design where the whole composition becomes rough through simplification and emphasis, then

Go ahead and refine your design.

From now on, each prop should be connected or separated to improve readability.

Contrary to the designer's intent, if the props appear to be in sections, or if you want to display them with separate objects.

The design is not well understood by the person looking at it when it is connected to other props.

The ability to connect and separate them effectively.

The connection must be smooth in the simple process, if the separation is not natural

The drawing becomes very unnatural and awkward.

Fortunately, the size or orientation color material

Or, like the detail density, some things have definite differences that distinguish themselves when they are close together.

For example, when drawing a target shape with an outline in a drawing, some shapes must end up with edges.

This blurring of edges must exist nearby, so it is necessary to connect or separate the edges naturally.

This edge, so the sharper the edge and the sharper the fold, the higher the sense of isolation.

However, if the props are too isolated from each other, the design will play alone and become unnatural, right?

A buffer needs to be added between form and form structure, structure or color, color, detail and detail if it is to look natural.

Intermediate devices (intermediate devices) are called transitions.

When two or more elements collide, transitions are independent devices that can connect them naturally.

In the book, only halftones need to be found, but structural devices that do not spill out are needed for the design.

With the addition of transitions in the design, there is basically an effect of detail enhancement in the character design, too

By transitioning, it reduces the feeling of unnaturally isolated designs and has the use of making the designs bind well to each other.

It's usually intuitive and nice to connect and separate with colors, so in terms of what colors to use for these transitions

Following connections and disconnections looks good.

For example, using colors and intermediate colors between colors can be grouped and associated, or completely separate colors.

Also has the effect of separating individuals.

In this way, the transitions play a variety of roles in the form of composite

It sounds like a sentence modifier, so that's good.

So, let's take a look at some transition types that are available for character design.

The first one is layered.

Add small layer in the middle of the side of the edge where the bump is too steep or sharp ends.

Usually used for mechanism and mechanics because of the detail sought in the structure.

When used as structural props such as weapons and armor or in the case of everyday clothes, the inner clothes and the thickness of the gourd and sash are very different

When a layer of clothing is added in the middle

Because of the characteristics that make up the layers, depending on what colors are used, the layers naturally continue and do split into sections.

And these layered structures naturally add space and shading to the character design, so the three-dimensional effect is very good.

I've brought a couple of examples.

For example, now when there's too much space between the thick jacket and the hand

intentionally put a business in the middle so that there will be transitions.

Here too, a buffer is sometimes intentionally used to pinch a business when it looks a little empty between such a haunting dress and the inside.

In terms of design, I got the Google theme that

If we used it as a design element, we wouldn't use this pattern, but we would split it into each layer to make it more three-dimensional and

The shading Laden or the sense of space, etc., that appears here becomes naturally dense in the design.

Wearing a dress is also a good cushion if you feel a bit bored between the dress and the body.

When the colors are very different, add a middle color in the middle, or when things that are too big and too thin collide

It may be possible to intentionally add some intimate separation to a business in the middle and let it continue naturally.

Frames will also be added to the transitions.

When objects meet objects, like picture frames, sell lines to form a relatively simple frame and wrap the existing design with it, separating it.

Often, objects can be effectively separated using colors or tones that are clearly distinguishable.

For example, between two highly saturated colors, separating them with a colorless color such as black or white, the

Or, deliberately add a light or light dark color between two dark colors, thus providing a buffer between the two colors.

Frames with a decorative effect that

It serves to assist and emphasize the details of accessories and clothes that can easily end with a little carelessness.

If there is no frame

There are a lot of cases where the design is too simple intermittent or completely glued together, so it is really often used in game illustrations where readability is important.

Conversely, the effect would be more modern, contemporary, and neat without this frame.

Look at these examples again, these gems will stick to the clothes and are very unnatural.

At this point, a thin frame can be intentionally added to make the gems blend naturally into the garment.

This decorative element is almost essential.

And because it's green and yellow with red, the middle is again sandwiched with the enemy color of the object and then clearly separated.

Even though they are purple like green and red, they intentionally put yellow into them to distinguish them.

Or, when the materials are stuck together, the material in between will join a different frame.

A medium color is intentionally added to act as a buffer between the door and something that varies a lot, such as black and white.

And these decorative elements, most of these frames can be seen.

There's another way to intersect stuff with design.

002 00:27:52,633 when both large individuals do it, and if the differences are too pronounced, the isolation becomes too strong, the

00:27:59,516 if they close, rather than simply ending them, their color and structure

Add a point behind the borderline to naturally change the borderline so that the two objects intersect.

When the layer cycle between an object and a substance is blurred, or ends simply by a gradient, etc.

Usually when adding extreme colors, if simple lines or waxes are added with surrounding colors

The effect of a natural connection that

And, even if not by design, if the colors of the surrounding objects are slightly illuminated by the reflected light, the colors will naturally connect, the

It is usually better to add details using the surrounding colors when making a description if the object is too isolated.

You see things that are usually a bit large, some are simple objects, when black and white collide

Putting elements that have black slightly inside of white can be seen on things like chains or buttons.

When the gray and white may fall off too simply, a little bit of white behind the gray cordon will naturally create a cross.

When brown and black collide, black or zinc will intentionally cross over to the brown side of

To avoid falling off too unnaturally

When you have 6 jagged patterns, if you find it a little boring to solve these with gradients

Putting the colors here inside this allows the colors to intersect naturally.

Here again when there is black and white, intentionally put a black lemma book so that these two are connected

When the colors are very different, or vaguely stuck together, when the colors drop significantly, when using colors

Is it possible to rest even with surrounding colors?

Or, if you don't like to punch holes with lines or patterns

There is a natural layering effect and the colors will cross naturally.

Look here, something like orange will come through this hole to illuminate the light and make the colors intersect naturally.

Finally, we can take a closer look at the changes in detail.

When simple and simple things collide, the borderline also becomes simple, and the simplicity keeps repeating itself, which is too connected.

Conversely, when complex and complex things collide, the edge acid also becomes complex, and again, the details keep repeating themselves, which connects.

So, if you encounter simple, simple, complex, complex, you can't tell the difference, even if you try to

deliberately make the opposite suffixes smaller so that they can be separated naturally.

Or, in cases where the difference in detail is so great that the edges become too pronounced, the

Between the two, elements with moderate detail can be added in smaller increments to make them gradually change and give them coherence.

In addition to details, clear contrasts are intentionally made when separating vague connectivity such as materials or colors

inserted so as not to splash in the middle.

Instead, the details can be made to continue naturally and gradually, like a gradient, if they vary too much.

For example, the white dress and black pants are very simple, so if the middle becomes simple, the drawing will look very divided.

So focus as much detail as possible on this connecting line to bring this part of the person into view naturally.

When two columns can be built, and it's easy here, the long line is simple and very intuitive

In between you can add complex and colorful lines that distinguish these two and at the same time connect them together, also without splashing.

Usually, when the simple and the simple things meet, these details

A lot of times into connection contests, you see here, like this kind of contest, or whatever. Medical feat

Or, you've seen a lot of these decorative elements that usually go into the detail between the big and the big.

Or a deliberate cautionary note when something as simple as a thigh collides with a shoe in the back

Add detail often, or detail by adding something at the end when the background and simple end.

So, we'd better separate these two.

It's also good to intentionally drive away the details in the middle when the body and pants simply end.

Or, if the materials are too identical, then a slitting effect can be created by adding materials that are significantly different.

Up to here, we emphasize the last part of silhouettes and compositing - the simplicity, to the transition

I read through it, the abstract, tough design theory, and in a way finally sorted it out.

The fact that theoretical design theory starts with terms and concepts that are abstract and difficult to learn alone, the

Even if you know it, it's probably just the part that you don't think about properly when you draw.

The fact that these design theories

are especially important when modifying or developing existing designs than when using them from the beginning of the build.

Therefore, be sure to apply these to images as you learn them.

Don't try to design, if possible, the way you normally work casually on design, and then

Before you get into this work, go along with this theory, modify it, and learn a lot.

Personally, I learned this design theory so that I could discern why there was nothing good about this design and why it was good that

helped me a lot.

For the future, Crown Kang Ji-eun I actually do not have the right answer, so if possible, in my role design

Just take the part that works and apply it first and then practice it.

In the next time, the end of this design theory

Let's get to know the intuitive and interesting color scheme of it.

Listened to a long lecture, hard work. I'll see you next time.