All language subtitles for 14. Consider Brightness

Hello, everyone. Thank you for watching.

First of all, I would like to briefly review the last time.

Last time, I explained about the second stage of rough production,

which is to think about the flow of lines.

In this way, I thought about the flow of hair and eyes from the face of the person

to the face again.

Also, I used scattered fragments to express the perspective.

In the next rough,

I made a screen where the line of sight flows from the person's face to the back following the hair.

And from this time,

I would like to pay attention to the flow of the line of sight while applying shadows to the composition rough.

Let's get started.

First of all, let's start with this illustration.

In the folder of the character,

prepare a layer with the clipping state of the top 3 layers.

If you clip it like this,

the selected layer will not protrude.

It has this kind of function.

Let's paint it all over.

This time, the light source is around here.

From this area, I will cast a shadow with the image that I am hitting this kind of light.

This is now painted with this gray drawing color.

By switching to the opaque color of this mesh,

it disappears like this.

It can be drawn with the same effect as an eraser.

Switch this.

This is a shortcut.

By switching it and drawing it, you will be able to draw smoothly.

It's like this.

And if you use the function of locking transparent pixels,

you can get a mask effect that does not protrude from the area where you drew.

You can use it when you don't want to put the color on the top with a spray like this.

Is the character like this?

In the same way as the background,

I'll make the ground a little clearer.

And the farther it is, the lower the saturation and the higher the brightness.

It's like this with a sense of perspective.

And a little cloud.

It can be smoke.

Lock the transparent pixel and change the color a little.

Make it as thin as possible.

It's like this.

Darken this area.

By darkening this character side,

it feels like it's coming closer from the darkness.

I wanted to emphasize that and contrast the light.

It's like this.

This is how to add shadows.

As I said at the beginning,

it's an image of light coming out of this area and heading this way.

It's like this.

By making the lighting to increase the brightness around the upper body and around the face,

it stands out more by contrasting with the shaded part.

It's like this.

So, I'd like to start working on adding another shadow.

In the same way,

I'm going to paint all the characters first and then apply the light.

In this illustration,

lock the transparent pixel and adjust the brightness.

By moving away from the light source like this and lowering the brightness of the front side,

the feeling of distance, the feeling of being in front of you, is expressed more.

The position of the light source is a little strange, so let's change it.

The place where the light hits is around here.

It's like this.

The light source is around here, and the light hits like this.

So, this is the place with the highest brightness.

It's like this.

In this illustration, the silhouette is emphasized by reducing the brightness of the whole person and brightening the brightness of the background.

And, by raising the brightness of the outline of the main character by placing the light source around here,

it stands out the most on the screen.

Now, I'm going to combine these two course roughs into one image.

I'd like to think about which one to put them side by side.

This is it.

When checking the brightness or the degree of view with a course rough like this,

If you display it like this, the whole screen is easy to understand.

It's easy to grasp the image, so I recommend it.

Which one should I choose?

First of all, let me tell you the conclusion.

Here it is.

I thought it would be nice to have a scene where they are interacting.

This is the battle scene.

I think it's good in terms of dynamism and power,

but I think it's easier to feel when you look at the picture that the theme of this time is to move forward.

It's a scene where the main character overcomes the difficulty,

so I thought it would resonate more when I saw this.

I'm a little flustered with this course rough,

but I'd like to make it look like the body is melting or scattering as the character progresses in the work.

For example, let's say there's a fairy.

When a fairy dies in a farewell scene,

it often disappears like this.

I'd like to describe it like that.

To this character.

I thought it would be a scene that would convey the theme more.

So I'll choose this one.

That's it for the process of making a course rough.

It's a good idea to draw multiple course roughs like this and compare them with each other.

In the case of work, there are many cases where you prepare about 3 roughs,

so I think it would be good to do it for practice.

Next time, I'm going to add color to this course rough.

Thank you for watching until the end this time as well.

Thank you again.