All language subtitles for 05. About Lines

Hello. Thank you for watching Section 2.

First, let's do a brief review. In the last lecture, I explained about depth.

Arrangement to produce a sense of depth. It means to make a sense of depth by arranging it with a rhythm.

Next, eye level and vanishing point.

I explained that there is an eye level at the height of your eyes, and all parallel lines converge at the vanishing point.

And perspective. One vanishing point exists, one perspective.

And two vanishing points exist, two perspectives.

Next, I talked about the three vanishing points method, which has three vanishing points, and finally, I explained how to draw a person on the perspective method.

It was to guide the size of other people at a certain point from the line that connects one person and the vanishing point.

In this lecture, I will focus on the third element, the line.

Let's get started. The line I'm going to talk about here is about perspective guidance.

When you look at a picture, you point to the direction in which the line of sight flows and explain that you control the line of sight with the shape of the object, the main line, the wrinkles of the clothes, etc.

Controlling the movement of the line that is poured into the screen plays an important role in the course.

It is important to be aware of the role of the line in your picture, to guide the line of sight of the viewer along the line of the drawing, and to make it go to the center of the interest in the end.

If you draw a picture without a clear purpose, the focus may be gathered in an unimportant part due to a strong line that occurs unexpectedly, or the line of sight may go out of the screen.

It is also important to be aware of those who work to create a line with a direction.

In other words, it is to create a work that moves the line of sight from the object related to each other to the object without resistance to the perspective.

Depending on the purpose, it may be to make the line collide and increase the effect.

These lines need to be clearly emphasized or softened to guide the viewer's line of sight and convey the creator's intention clearly.

Let's take a look at an example.

Here are four illustrations.

It's an illustration of a building on a plain with a mountain in the background.

First, look at the first one.

There is a road leading to the building in the back.

Here, the line of sight is guided so that the building, which is the center of interest, is pointed as it is.

This is the line on the edge of the road.

And the piled up clouds.

These forms are placed so that the viewer's eyes are directed directly to the building.

And the mountain.

The shape of this mountain is the same.

The line of sight of the mountain moving to the building also has the effect of drawing the viewer's attention to the building.

Next, look at the second illustration.

Here, I moved the road to the right and placed the clouds evenly.

Then, in this arrangement, the building stands out, but I don't think it's emphasized much.

The line of sight of the road.

This is it.

This is the line of sight of the building moving to the horizon.

And the clouds are perpendicular to the building.

Like this.

In this picture,

I think it can be said that the presence of the building in the landscape is more important than the building itself.

Next, look at the third illustration.

Here, I placed the road and the mountain with a rhythm.

And on the right, I placed a tree here.

In this way, I made the lines rhythmical and directed the viewer's attention to the center of interest.

First, the line of sight goes from the bottom left to the back.

And depending on the shape of the tree, the line of sight is directed in this direction.

I think the line of sight of the mountain is slowly moving the viewer's attention to the building.

Now, the fourth illustration.

Here, I placed the road and the mountain like this.

In this picture, you can see that all the lines are horizontal or vertical.

The line of sight of the road, the line of sight of the tree, and the line of sight of the forest, and the line of sight of the mountain.

So, the viewer's attention is not directed to the building, but to the edge of the screen.

In this picture, the building is not where we are going.

For example, it looks like a building that appears in the scenery seen from the window during a drive.

Now, let's look at the next illustration.

This is the illustration.

This is a work of the illustration contest of the Akashic Chronicle, which was held at PIXIV.

First of all, I think the viewer's attention goes to the highest point, around the fireworks.

It's around here.

I think the viewer's attention goes to this point.

And then, the viewer's attention goes to this point, around the face.

From here, the viewer's attention follows the wings in this way.

I drew it this way, like this, and then I drew a line like this from the wing on this side.

I think it's a process of following these lines and returning to the character again.

In this way, I was conscious of the line of sight gathering around the face of the person during the line of sight loop.

The next illustration is a 3rd anniversary illustration of Azur Lane.

First of all, I thought about what I should do to draw attention to the faces of the two characters, so I made a screen.

When I saw the design of the two characters, the flag was impressive, so I thought,

I thought I could use this flag for something, so I placed it like this.

By the way, this tool is called a curved ruler tool, and it is a tool that can draw curves freely like this by deciding the starting point and ending point.

I placed the flag like this, and if you look at the legs, I was conscious of these lines and thought about the pose,

By creating these lines, I tried to prevent the line of sight from deviating under the screen or outside the screen.

This element is the same. Without this, there is a risk that the line of sight will flow in this direction.

And the flag on the right facing the screen.

By using these elements, I was conscious of the fact that there is a character in the frame.

By doing this, I was conscious of the effect of drawing attention to the faces of the two characters and making it difficult to escape.

And here's a little note, but there's a flag, right?

If you bring this flag to this position, it becomes a neck-cutting pose.

The neck-cutting pose doesn't have a good impression, so it's better to avoid it.

And this flag is the same.

Let's say I brought this here.

If you do this, it will look like you're poking your head, so it's a good idea to avoid this.

When you think about the composition like this, I think it's a good idea to draw a rough picture of each character or object.

Let's take advantage of the lines while thinking about whether the lines such as the background are the center of interest, whether many lines are disturbed, or whether they are lined up in a monotonous way without rhythm.

Now, let's take a look at the next illustration.

This is an illustration of Honkai Gakuen.

It's a scene where a pair of black arms surround the character.

It's a scene where a pair of black arms surround the character.

As you can see in this illustration, this black arm.

The lines created by the black arm are concentrated around the face of the character, which is the center of this picture.

Also, I'm blurring a part of the black arm and hair.

Like this.

I'm blurring it.

By giving this effect, you can give the scene a sense of speed and dynamism, and you can also add the effect of focusing the line of sight to the clearly drawn part by blurring or flowing the line of sight in the direction of movement.

Now, let's look at another example.

First of all, this black circle has a line of sight.

How is it?

Next to the big circle is this circle on the right.

Next is the small circle.

The line of sight went like this, didn't it?

Now, three people have appeared.

In this case, I think the line of sight will be carried in this way.

Like this.

The effect of the line of sight can also be created depending on the size and arrangement of the person.

The most important person is placed large on the screen, and the other person is placed small in the back.

The face of a person is the most easy-to-concentrate element.

So, even if the person is placed the largest on the screen, I removed the face from the screen.

And, like this, I removed the face from the screen.

Then, I think this person, who was the most conspicuous, became like a supporting role.

It's like a mob, isn't it?

And, this person.

Let's face this way.

Can you see it?

There's an ear here.

It's facing this way.

Then, how is it?

The person who was the main character earlier became like a supporting role.

This smallest person, who wasn't conspicuous on the screen, became like a picture that has some kind of meaning.

Like this, the effect of the face of a person taking the line of sight,

There is also the effect that our line of sight flows in the direction of facing the person.

When drawing multiple people, I think that if you make it with these things in mind, you can make an interesting picture.

Yes, then.

That's all for the explanation of the line of sight in Section 2.

The effect of the line created by the element is that there are various ways to do it depending on the arrangement, so let's enjoy the various configurations.

In the next video, I will explain the importance of making a composition.

Thank you very much for watching until the end.

See you later!