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Hello.

From today, we are going to work on Section 4.

The actual drawing part.

So from today, we are going to go through an illustration.

So I brought back the character from the previous class.

By using this character,

we will go through the process

of editing a thumbnail.

If you're drawing while you follow this class,

you will work with the character from a design stage.

We are going to compose a thumbnail together.

Before we start, remind yourself.

What is a thumbnail?

We should take some time to find out.

When it comes to thumbnails,

it literally means

thumb for thumb,

and a nail.

So it means to draw it small like a thumbnail,

that's why it's called a thumbnail sketch.

So you draw it small,

to quickly pick the image that you're going to draw.

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I think I've told you about speed before.

I talked about it for the brief sketch in section 2.

I emphasized the speed.

Do you remember the reason?

To get the image that came to your mind,

it is important to do it promptly.

Because you only have about 15 seconds to remember your image.

To get the vibe out quickly within that time,

we do a thumbnail sketch.

So, the thumbnail sketch

is not the time to do a human body.

Usually, students set the pose of the character

to set the composition of an illustration.

I try to adjust the body proportions while making poses,

and fix the lines,

and in time the face gets prettier and more in detail,

but the image that popped up in my mind becomes faded.

And my drawing is

different from the image I wanted.

If you have an outcome like that,

you might have to fix that later,

or you end up drawing a new one.

So at this stage,

it's not about the human body.

We divided the sketch stages

into 1st, 2nd, 3rd, and 4th sketches.

In the 1st movement,

in other words, if you look at it as an illustration,

focus on expressing the nuances quickly.

That is very important.

Just in case,

if you keep trying to fit the human body in while this is going on,

you have to catch yourself at that point.

You have to stop on your own.

It's very important.

But to do the first sketch,

it's a bit difficult.

If you think it's hard to draw a stick figure,

from the 1st sketch,

that means you don't have enough practice for the simplification process

which you practiced earlier in Section 2.

You have to keep practicing.

Or if you can't think of the scene,

then, find the references that we did in Sections 1-2.

You may something that you can get motivated by,

so take out an image that could help with your motivation.

Refer to that image

to make the composition.

If you look at a few images,

there's bound to be one that you like.

There must be one 'friend' who will inspire you.

If you make a composition using that friend,

it'll be easier to access.

Since I'm doing a demonstration today,

I'm going to do it without any references.

For the students who are watching,

at this point, I recommend you to get a copy of

a piece of material to refer to the feeling.

So by referring to that one,

it would be better to work with it.

I told you that the advantage of the thumbnail is that it's quick.

Therefore,

by getting as many types as possible,

it's time to think about what to do to make this one prettier.

You can think of it as a kind of lucky draw.

So you spin it as many times as possible,

to increase the probability.

The probability of a pretty illustration coming out.

And of course, I put my heart and soul into it

to make a pretty-looking image.

It's also a worthwhile act.

It doesn't matter if you do that.

Or pick a lot...

every one of them adds to your experience.

This thumbnail makes you study better compared to the time you put in.

In a way, you can see it as a practice process.

So, it's important to take out as many thumbnails as possible,

by seeing how well your screen is organized,

and keep increasing it.

What you should be careful about when choosing the thumbnail is

based on the premise that you're going to start now,

the most important thing is,

the one thing you need to pay attention to in the thumbnail is

that you're trying to make it look good.

If I have to pick one thing that's the most important,

as expected, it's...

Where is the point that you want to draw attention to.

We're going to work on this character

in the middle.

It changed a little bit from what we worked on

in the previous design class.

So I'm going to use this one to work with.

When it comes to showing this one to people,

what would be the most effective way?

Or what is the point you want to emphasize?

Let's focus on this.

We have to construct a screen with it.

It depends on the person.

If you want to want to emphasize this character's face charmingly,

or if you want to emphasize the tooth part of the hat,

or if you want to emphasize the shoulder line,

or if you want to emphasize a pretty skirt,

you may want to show the overall silhouette of the outfit,

it could be the creature in the background,

or the lines on the legs,

or using your overall skills,

making a fancy image,

or you can include a character in a dark image,

there are so many things that you can do.

So you need to clarify that first,

and based on what you decided upon,

it is important to organize this screen.

As expected, the second one came out just now.

What we compose is not the posing of the characters,

but the screen itself.

We went through this in a previous class, too.

But it's important, so we must decide this before we move on.

What we are composing is

a square screen here.

No one draws triangular illustrations, for the most part.

Sometimes, inside a square,

people draw a triangular screen,

but most of us do full illustrations,

so when you draw illustrations with a background,

you draw an illustration inside a square.

Either horizontally or vertically,

inside this square,

the characters are arranged,

but actually, this character is a kind of material.

It's like meat in terms of cooking.

Although it stands out a lot among the other elements,

it's just an ingredient.

We're going to use this to create a thumbnail.

This thumbnail is like a recipe for cooking.

The part you want to emphasize,

or where you want highlight,

depending on how you plan it,

the ingredients I use are different, too.

You can put in vegetables as sub ingredients,

or you can add other main ingredients,

or maybe you could add noodles

and rice,

the sub ingredients will be different,

and in the process of cooking,

you can choose whether to cook it or not.

It works the same for drawing.

In the end, it's about how to express the sections

that you want to emphasize.

So while composing the screen,

We need to keep thinking about

where we want to place our emphasis.

That's all for the introduction.

Let's move on to the practice.

I'm going to use this one to create a thumbnail.

The reason why I painted the background gray is

just that my eyes hurt because it's too bright.

You don't have to paint it like this.

Which part should I draw to emphasize the charm?

While drawing the illustration,

taking a look at my intentions again,

afterwards,

based on today's illustration,

I'm going to break it up into several parts.

I'm going to break it into a cute and bright image,

and I'm going to try a calm image,

maybe a strong image,

or a sentimental image.

I'm going to fix this 'friend' in many ways.

Rather than a strong impression

from the screen,

at this stage,

I intend to set a plain screen.

You don't have to do that.

It's okay to focus on

composing a screen that you think is pretty.

First of all, I'll...

Let's see how we're going to come up with this.

Let's think about it.

What part can we express prettily?

While I was working on this character,

the sharp tooth,

and the eyes are a bit unique,

also the hat is a bit unique

and this one on the back,

I do think these are pretty in my point of view.

So in this section,

let's say you want to draw attention.

To do that,

let's compose the screen.

How should we apply the angle?

At this stage, we'll think about the angle together.

To show what you want,

the pose of the character,

and in order to show the parts that you want to emphasize,

the angle,

and the way surrounding elements are arranged,

the coloring,

and the way to apply the lighting,

if possible, it's good to think about these in the thumbnail level.

Of course, we can't do it all at once.

There are still a lot of people who can't do it all together.

You can do it step by step.

But when you get used to it later on,

I think it's better to compose from the thumbnail up to the colors.

It's the best method.

Let's compose it together.

I'm going to use the high angle.

I told you that the previous angle was too widened.

I'm going to put the camera closer.

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That's why it feels like the angle is spreading,

a bit stronger than the previous one.

At the thumbnail level,

I tend to draw the character's facial features.

Rather than aligning the human body,

I'll focus on getting the right vibe.

To show the hat clearly, I turn on the angle.

If you do this,

since the hat goes into a low angle,

you will be able to show the teeth of the hat,

and you can see the character's face well,

with the clothes on the bottom spread out like this,

so you can see it up to the neck.

But if you have that strength, you always have a weakness.

This is my theory,

but there are always pros and cons.

There's no method with pros only.

But if the pros are worth more than the cons,

I think that screen is the best.

As the high angle goes in intensively,

you give a strong impression,

since the eyes are focused on the face,

if you show the body design,

or if you add a lot of surrounding elements,

it's going to get too complicated.

Like that,

according to the method that you chose,

the screen has strengths and weaknesses.

It's even better if you think about it all together.

In that regard,

the answer is up to you.

What would be good for this one?

Which part would be good?

If there's something you don't get,

looking at other illustrations of similar lines,

we need to analyze them.

Like, this is similar to the illustration I was going to draw.

While this is a strength,

this part is a bit weak.

The process of finding that is part of studying.

When it comes to drawing,

I think it's a very important process.

If possible, in this process,

don't spend too much time on it.

I want to show the legs, too.

So lift the legs a bit,

to show this one which didn't have a tooth shape.

We made some outerwear before.

Using the outerwear,

if you want to draw a pretty outfit that droops down,

then compose the overall vibe,

and it's enough if you could understand what you want in the draft.

Even if other people can't get it,

it's enough if you can see it.

If you set the overall atmosphere,

work on the 2nd sketch with this one.

In case you like it.

If you don't like it, try to design it until you like it.

You have to keep designing until you get what you like.

First of all, I'll start

the 2nd sketch and design another one.

When we go into the second sketch,

zoom in on this,

and erase it again.

Or maybe creating a new layer

would be a good method.

Let's start the 2nd sketch.

In the 2nd sketch,

it's good to set the facial features to a certain extent.

It's okay to set it in the 3rd sketch,

but the reason why I recommend setting it up in advance for the 2nd sketch is,

if you have any errors in this part,

you may need to fix the body first,

to draw a new face.

So if that happens, there's a lot of editing involved, right?

You may have a hard time working on it.

I think it's okay to spend some time on the face.

That's how important the face is when it comes to characters.

If you want the character's sharp teeth

to be pretty,

it'd be nice if you could direct them,

making the mouth as big as possible.

So make the eyes as wide as possible,

and make space on the top and bottom, and when its eyes open,

you can make it look like it's opening its eyes wide.

And for double eyelids, unlike the previous one, with half of them up,

it's better to put them on as much as possible.

So it's going to look at the center.

Put it in the middle like this.

So it kind of has a scary impression,

but later on,

we're going to look at other examples when we move on to the nuance part.

I'll draw the mouth again.

Even if it's your 2nd sketch,

you don't have to be nervous.

We're going to go through the 3rd and 4th sketches anyway.

We need to edit the 3rd and 4th sketches while checking the details.

In the 2nd sketch,

what we need to do is to get the overall vibe.

But the hair that we learned before, etc.,

try to apply these theories as much as possible.

The ratio of the characters,

and the errors,

I've told you this before.

Rough sketches and theories.

So, when it comes to the facts, drawing accurately,

the feeling is more important.

You need to put the feeling first.

It means that some errors in the human body and things like that

are a bit understandable when it's a casual drawing.

Some people say,

that it's charming with little glitches.

It's not like I'm telling you to make mistakes.

But it means don't be too afraid of them.

Just draw the overall flow of the hair.

For now, I'll draw around this much.

In the 2nd sketch,

it's important to adjust the body.

You don't have to draw the outfit for a second.

For the 1st sketch, we only had silhouettes.

Therefore,

let's focus on editing the body.

I'm going to draw the upper body smaller.

Because it's a small character.

I'm going to lift the legs a little bit.

It's okay to just put this hand down,

but to make it fun,

I'll stretch it out.

Do you remember the basic hand structure?

In the 2nd sketch,

it's time to improve the accuracy of the human body.

That's what it's for.

After checking the accuracy in the 2nd sketch,

and if there's no big mistakes,

let's move on to the 3rd sketch.

We're going to do up to the 3rd sketch today.

We're going to make a few more thumbnails.

Try to make it wide horizontally,

and since we emphasized the face,

we'll have to emphasize other things, too.

We can emphasize this by putting an extra strand of hair.

We also call this 'ahoge' hair.

So we need to emphasize that, too.

And put the decorations on the back of the head.

The sharpness of its hair,

highlight these details in the 3rd sketch.

Since I'm demonstrating right now, I'm in a hurry,

but you can do the 3rd sketch slowly.

It's already the 3rd sketch.

Usually, until the 2nd round, it's mostly done with the thumbnail.

From the 3rd sketch,

if you think you can proceed further with this design,

it would be okay to continue to the end,

you can make a decision.

You can work on the 3rd sketch when you've decided.

Therefore,

from the 3rd sketch, try to be as precise as possible.

It's important to draw,

expressing everything you can.

So, accentuate the worn-out look of the outfit.

And maintain the design of the half-glove.

At this point, we're going to express the nails.

The perspective is a bit off here.

The perspective on the floor,

is applied like this.

So if you look at the part where the legs are placed,

you'll be able to get used to it.

When you put your legs on the cuboid

and if they look natural, it's all good.

The arms were a bit short, so let's put them down.

Draw the design of the skirt,

and cut the screen.

Also, when you make the thumbnail,

some people don't draw in a square.

If possible, I recommend you do to a square

before you work on it.

It's a way not to forget

what we're composing is the screen.

So that you can

approach it like that.

There could be a part that sticks out of the square.

If possible, make a big canvas like this.

Draw a small square in it.

I recommend you do a thumbnail sketch inside the square.

Try to apply the designs that we've done before.

In the area where there's some space in the back,

I wanted to apply the character's creature part, if possible.

So I'll put it in the back like this.

I told you about the gazing part earlier.

I told you that we need to focus on the face.

Let's see if it's really focused.

Okay, let's do the perspective calculation.

By bending the face like this,

low angle,

slightly low angle,

slightly high angle,

a bit higher angle,

then even the high angle,

so the part that goes around a lot,

is focused on the face.

If it's composed like this,

people's gaze will

also focus on the face very naturally.

Let's see how people's gaze

on the illustration flows.

As we learned in the gaze part,

we're going to look at the face,

and it's a must to see the face in the character illustration.

I think it's okay to say that 80 to 90 percent of the time you see the face.

If you saw the face like this,

the gaze will go down along the body.

The gaze that went down like this,

might be bland if it just ends like that.

So when you draw the line of the gaze,

it's good to check if there's a connected part.

The hat part would be appropriate.

Then the hat part

would be good to be arranged so that the gaze can continue.

Then we need to check if there's any other gaze.

If the main gaze is on this side,

what are the sub-gaze and sub elements like?

We may look at the hands.

If you look at this hand,

the face and hands are kind of loose.

I'm going to add some nuance to this,

and edit it later.

So when I change to a cute image or a calm image,

I'm going to edit it once in a while.

I'll leave this section.

First of all, the overall wide gaze composition,

it's spinning this much.

And the subject is clearly visible.

We've achieved the part where we can see the sub element.

This, for an illustration sketch,

we've achieved most of the things we need.

So far we went through the first sketch.

If you just look at it as an example, it might seem difficult.

But actually, the thumbnail part

is the foundation that will be the main focus of the future work,

it's actually at the stage of completing the painting.

So I said we need to anticipate the color at this point.

So I'm drawing at the level

of perfection in my head.

By working on it like that,

I think the accuracy of the work will be improved a lot.

And the ability to draw as you intended later on,

the one that we focused on at the beginning of the class,

we'll be able to keep the content to a certain extent.

If you think the thumbnail is difficult,

it is alright right now.

As I said before,

you can improve while referring to the materials as much as possible.

Let's say there's this kind of reference,

try to use its pose as much as possible.

It's okay to start with.

So by increasing the information like that,

if you make those yours later on, that's good enough.

So at this stage,

try to draw with

as many references as possible.

If you're struggling, you can do that.

Since we made the first composition like this,

we'll move on to the second composition.

In the first illustration,

I wanted to express the face of the character strongly.

Then what should we do for the second round?

The creature in the back is crushed.

In the illustration composition,

could we express more of that part?

In the composition itself?

Let's think about it.

Horizontal and vertical, wide.

Let's go through this part before we move on.

Horizontal and vertical wide.

You might ask what the difference is between them.

Usually, vertically long illustrations like this,

or horizontally long illustrations,

have one side of the screen narrow,

these two sides narrow.

Since it's narrow, it feels kind of stuffy.

Stuffy means,

on the other hand, it means you can concentrate.

You can focus more.

So if you want to show your character strongly,

when you express the illustration,

compared to the cuboid,

the screen that's long vertically or horizontally

has a lot of advantages.

Before composing the second screen,

let's talk about some theory.

We've talked about the gaze before.

Let's review it a little bit.

Whether the overall composition of the screen should be triangular,

or a diamond shape,

or an 8-shaped composition,

or an inverted triangle...

depending on these things,

you can express the character's feelings in a very different way.

We learned these things in the previous silhouette class.

We handled it in the gaze processing part.

In making good use of it,

although it was about drawing,

you need to know that lighting is also available.

As I said before,

at the thumbnail level,

you have to anticipate the coloring while working on it.

I do emphasize it once again.

Because

for this one, the lighting

is applied a little bit to the illustration.

Let's make it.

The second thumbnail is,

as I said before,

I'll go for the composition where you can see the creature.

The ratio between the character and the creature is about 7:3.

The character is the main element.

First, I'm going to lay down the character.

The reason why I put it on a horizontally wide screen is,

usually, vertical wide,

when there's a character in it,

with less of an element,

vertical wide is good for composition.

If there's a lot to put in,

and you think you prepared a lot,

horizontal wide is more useful.

Since we have to show the unique personality

of the characters and the things on the character's back,

to a certain extent,

I think we need to show the character part horizontally.

If the main element is the creature in the back,

the sub element will be a character.

Especially the shoulders and neck of the character.

I'd like to make a composition that shows the core of this design.

So it'd be good if you can express the face in detail.

Get the shape of the hair.

It's not that we're going to match the body exactly.

Let's focus on getting the vibe.

Hold it like this...

it's okay to lower this shoulder.

While filming the video,

it's not easy to come up with the composition.

Since you are drawing less nervously than I am,

I hope everyone is enjoying it.

For those of who find the thumbnail difficult,

it's okay, it is hard.

This is the most important part of the illustration.

And this is the hardest part of the illustration.

It's hard to compose the screen.

Now, we're drawing this one

while thinking about what we learned earlier,

so of course, it must be hard.

Anyway, it is indeed hard.

So it's better to go in without being nervous.

This is also my theory of painting.

If you are working on a hard one, you have to take it easy.

And the easier it is,

the more serious you should take it.

Most of the time, it's the basics that might bother you later.

One of the things that professionals feel the most is

that they lack some basic skills.

There are a lot of people like this.

When students hear that,

you may think they are good at drawing and wonder why they think so.

Actually, they really mean it.

I've seen someone

who wanted to learn shading and sketching again.

The reason I'm saying this is because

although the thumbnail we're working on right now is very difficult,

that doesn't mean

this character

looks too jarring.

If you think of it simply,

if there's a point that you want to show,

you can organize it to be captured on the screen.

The method doesn't really matter.

Whether the character is lying down horizontally like now,

or to show the creature as strong,

drawing a big creature in the middle,

for example,

on the vertical screen,

the character is standing like this,

and like this,

the big creature in the middle,

in any way,

if you can see both the creature and the character,

I think it's going to fit the screen.

You just have to think about which screen is the best.

The answer in that process is

on you.

If you say this side looks prettier,

then you can work with that.

That itself is

a part where it becomes about the illustrator's identity,

and if you failed,

you could improve yourself by experiencing that failure.

Like this, the character is lying down in front of us.

And you want to compose the screen

with a big face of the creature in the back.

We predicted

how the gaze would flow.

Let's take a look at it.

We can make the gaze flow from the character like this.

It's similar to what we did before.

Instead, the creativity in the back

supports the gaze.

You'll get it when you draw the outfit later on,

but the line on the outfit,

and the lip line on this side,

with the waistline on the body,

and on this side the tooth line's connected.

So the gaze will naturally move from the character

to the creature in the back.

So, the people who observe it,

will be able to see the characters and the creature.

You can add a couple tentacles

around this area.

It was a part of the setup as well.

We've done the 2nd sketch.

Let's start with the 3rd sketch.

Usually, in the thumbnail process,

some people make up to six of them.

I feel like I don't need to make that much,

but the process itself is fun,

and as I said before, I think it's helpful.

In the time I design this,

I don't waste time.

Thumbnail sketches are supposed to be rough anyway.

Compared to completing a sketch,

drawing ten thumbnails,

should be less time-consuming than doing one completed illustration.

So the amount of studying and the quality of studying you do

is very beneficial.

I don't feel like it's a waste to create thumbnails.

So when you practice,

always draw a lot of thumbnails like this.

It would be great if you take your time with it.

To experiencing the values that make up the screen,

which is different from the experience of designing characters,

it is best to draw a lot.

It's good to draw as much as possible.

Most instructors would emphasize this,

and you might get tired of hearing it so much.

Yes, I guess so.

But some may say there's nothing we can do about it.

But it's a bit different.

It's important to know

the parts you need to practice often.

We've talked about careers before.

If you want to be a concept artist

by becoming good at designing,

or if you intend to draw creative illustrations

or draw fan art

by creating fanzines,

when it comes to that,

you just have to draw what's most important to you.

Because after all, you'll draw everything.

If you draw for the rest of your life,

if drawing is your job,

you're going to draw many different things.

Or, if you want to draw well, even though it's a hobby,

for those who are taking this class,

even if you say it's just as a hobby,

in the end, you're here to draw enthusiastically.

So, you'll continue to draw to a certain extent.

Then, even these people

will draw a lot.

But what do you want to do well with drawing?

If you want to be good at illustrating, you'd do a lot of thumbnails.

If you want to be good at designing,

I think you should draw a lot.

That's why you have to draw a lot.

You might get tired of hearing this again and again,

but, if you know what you need

and if you focus on that part while you practice,

I think your burden will be relieved.

Of course, you might want to be good at both.

All artists have this desire.

And you have to do both a lot.

In the second sketch, it's important to draw the proportions.

In the rough draft stage,

I drew the basic shape of the upper body,

so, let's check the perspective.

I'm going to stretch out this arm a little bit.

Stretch this arm down like this.

I'm going to lower the character's arms to the front.

Basic type.

Pull out its upper body like this.

Remember the contrapposto of the human body?

When the upper body is pushed forward,

the butt will go backwards.

I'll turn its back here.

So that you can see its belly.

Turn the upper body

and pull out the legs like this.

If the 2nd sketch is set, then I'll move on to the 3rd sketch.

Let's go into the outfit sketch part.

Fix the parts where the eyes were a bit awkward at this stage.

I get a lot of questions about this part.

Students ask if it is okay to draw the eyeball

spreading out when they're drawing this angle.

Actually, this is wrong.

If I were to draw it in this angle,

even if it's widened, it's widened like this.

If you widen it outwards, it's widened outwards.

To be honest, widening it up like this

is not a stable way to draw the front angle.

But this makes you focus more on the face.

And the chin will look thin, so it looks pretty.

So, it's very dangerous to use this.

There's a high risk,

but your character will be prettier.

You can decide whether to use it or not.

If you want it to look pretty even if it's a bit risky,

even if the perspective isn't correct,

if you just want to focus on making it look pretty,

you can draw it like this.

For those who want to increase the accuracy,

don't widen both eyes like this.

Draw it in a straight line.

Either way, there are pros and cons.

So, you must plan your drawing as you wish.

The pictures we drew in our heads are always the best.

This arm goes forward...

I'll add something fun to it.

Like we did before, we put in the design of its outfits.

We can draw things like the hair that falls back.

Let's depict them and continue.

After that, you always have to check it once more.

Once the overall sketch is finished,

we need to check it once at that stage.

You need to see if the parts you wanted to express were in order.

That's the most important thing.

What did I want to show here?

I wanted to show the character and the creature at the back at the same time.

I think we can see them at the same time.

But, I want to show the character first.

I want the viewers to look at the character first

and look at the creature after that.

So, I composed it so that we look at the creature after

we see the character.

The gaze includes that concept too.

I'm sure you've learned it in the previous lecture on gazes.

Because people's gaze flows

from top left to bottom right,

the viewers will see the character first.

And this is my own checklist, but,

I look at whether I can change the nuance of the character.

I think this character's nuance can be changed, too.

Of course, the left thumbnail looks simple to modify

so, I think I'll work with the thumbnail on the left.

I think we can change the nuance of this character.

I'll draw a wand, too.

And we should check the most important things.

Does it look pretty?

There might be mixed opinions about this,

but, it's important that

the illustration looks pretty to some extent.

So, when you make the actual thumbnail,

you need to focus on whether it's pretty.

You have to keep thinking about it.

If I were to come up with another canvas,

for this character,

I could draw a version that's lying down.

I'll work with this character now.

Since the clothing of the shoulder area is hollowed out,

I think the character's back would look pretty.

So, I'll change the outfit design.

Like this.

It can be an illustration that shows the character's back.

I can show the character's personality.

I'll raise the legs like this

and stir them in the air.

I'll put the hair down like this.

I'll draw the hat, but I'll give up the teeth of the hat.

Now, I'm going to draw a creature here.

As expected, with the character's face,

so that when your gaze flows, it will reach here,

I'll draw the water on the floor.

Remember this character is from the deep sea?

So, I'll add in elements from the deep sea.

I'll draw the wand here.

I'll put snacks around it

to show the character's personality.

Or, from the hat,

I can use decorations to fill in the space here.

How can I compose differently?

If you want to make this character look charming,

and just want to see the character,

if you think that way,

this time, the character should be trapped in the canvas.

The top and bottom are cut off.

If you look at this one, the top and bottom are also cut off.

It's a composition that increases your concentration.

To put it the other way around,

you can't really see the design.

So, if the canvas is wide, that's the downside.

You won't recognize the design.

Just the first impression.

The overall image can be conveyed strongly.

That's how it works.

On the other hand, if the whole body of the character is shown on the screen,

The canvas might be a little boring.

The viewers would lose concentration a little bit

but, the design of the character will be very visible.

The teeth area

is an area that catches people's attention.

This time, I'm going to take out the teeth.

Instead, for the neck area,

I'll make the character's fingers rest on its clothes

to show the design of the outfit

more effectively.

Let's shrink it a little bit

By stretching the legs out in front of the screen,

with the knees out,

afterward, by applying Gaussian blur here,

the Blur effect on the filter tab,

if you click here, there are many blurring effects.

It's called Lens Blur.

This blur is applied to the object that's protruded.

You can blur it out like this.

A wand here.

And a creature in the back.

I forgot to draw the tentacles of this one.

If it goes in and wraps the character's body like this,

it'll help the drawing.

The character's face

may be less emphasized than before,

but instead, it focuses more on the body of the character.

So it shows the part that you intended.

On the premise that,

in the thumbnail stage you can make up a variety of screens.

After working on the thumbnail to some extent,

choose the one you like.

You can proceed with the illustration after.

I think I told you earlier that we need to make plans.

How will the background color go in, etc.?

That's what the thumbnail is for.

When I first started...

I told you it's hard.

This is a multi-tasking skill ultimately.

Doing one thing and thinking about many things at the same time,

the more you do that,

the better you will perform.

For example, when we learn how to play games,

and if you want to teach a newbie,

you can tell them some key functions

like how to move the character

and what keys to press for attacking.

Or, you can tell them the characters' skills.

You could tell them using a certain item

is effective for certain scenarios.

You could even tell them how many stats it uses

and how much it can attack an enemy.

You can explain like that, but if you do so,

the newbie will stop even before they start playing.

When you start from the beginning,

you just need to focus on one thing.

At first, you just need to focus on the sketch.

If you get used to it,

you may start to catch that while playing games,

from a certain point, when you move around,

you don't care much.

You get to move without stuttering.

From a certain point, the 'cooldowns' of the skills that you use,

you'll memorize them.

You'll feel it if you've done it before.

If you keep working on it,

You'll grasp the cooldown for a certain skill.

And you'd be correct.

You can also more correctly predict how much in-game money you'd earn.

Eventually, your predictions will be more accurate.

When you get there, you can increase it little by little.

If you don't understand the game well,

it's similar to driving.

I'm sure there are people who haven't driven before,

or rode a bicycle,

but in the end, it's about multi-tasking.

When you ride a bike,

you are not aware of turning the pedals.

But you probably recognized that when you first rode it.

How you turn the pedal,

and how you hold the handles,

you may recognize these things at first, but you don't later on.

So you can focus on other things,

and get used to multi-tasking.

Therefore,

it's all about your experience.

In the end, experience is important.

I made a lot of thumbnails today.

There were two things that I drew in detail.

Later, by using one of these,

I'm going to color it, too.

I hope that the people who are following me try this kind of work.

And if you worked on it already,

I think it's a good idea to work on an illustration later.

What you have to do is just follow along with the class.

Let's make one more thing.

Making thumbnails is really fun work for me, too.

Which screen would be good?

The screen where you can show the character's legs would be good.

Let's compose it.

Showing the legs,

I want to show something with a dynamic vibe.

The impressions of the characters in the front

were all calm.

This time, let's make one

which looks very fancy from the viewer's point of view.

Let's work on it.

As expected, I'm going to widen the angle and work on it.

But this time,

I won't apply the angle around the face.

Instead, I'll apply it around the legs.

I applied a low angle from the face to the neck.

I'll reduce the size a bit.

I'll bend its back, and

I'm going to make the character's expression a bit weaker.

I'm going to show you the creature in the back, too.

Now, once more.

The canvas isn't recognizable.

Let's move on to the 2nd sketch.

Let's mix the 2nd and 3rd sketches and continue.

If you're confident in drawing,

you can do that.

Normally,

I separate the second and third stages of sketching.

I also want to keep the sharp teeth if possible.

I'll draw the shoulders like this,

and make this arm droop.

So, as an element that draws the attention down,

I'm going to use this arm here.

Overall, I'll utilize the gaze that droops down

in many ways.

It gives a calm impression, and

I'll raise its legs up

to emphasize the legs.

When the legs are folded like this,

they come up to the shoulders from the upper body.

The length from the belly button to the end of the neck

would be its length.

You won't be able to see the creature in the back.

I think only its tentacle will be shown.

My key point was to show the character and its legs.

We learned how to compose the canvas

depending on what you want to show.

Besides this,

there's a lot of things you would want to show.

You might want to show the character's design.

It could be something like this,

but it could also be the character's setting.

For example, this character's hat has teeth.

If you wanted to make this character cute,

I would have drawn this character like that.

If the hat moves like a human being,

it could try to eat up the character's head.

It could be a bit scary,

but if you make it funny,

it's also possible to create a cute character.

That's how you can change its settings.

Depending on the feeling that you want to express.

Of course, today

we made a simple canvas because

then it's easier to use this to change the atmosphere.

If you want to draw with your own character,

if that's the only goal,

I hope you can set it in many different situations.

I organized it like this, and

I'm going to add a fun device.

It's an upside down canvas.

A canvas that's flipped like this

makes it hard to recognize the characters.

But, the character's appeal becomes stronger.

So I'm going to use this

to make the character's first impression strong.

Like a character trapped in a box,

it's also possible to compose it like this.

I'm sure you've grasped it by now.

It's going to be a gaze that turns around intensively.

So, by look at a lot of gazes,

and composing many different screens,

or applying various situations,

it's important to keep focusing

on expressing what you wanted.

We've done many different thumbnails today.

Let's have some time to organize things.

Thumbnail means

a drawing the size of a thumbnail.

So in the thumbnail sketch, it's important to focus

on the feeling that you've been thinking of

after making sketches fast.

Just to match the body,

if you spend 30 to 40 minutes on the thumbnail sketch,

it's going to be hard to work on afterward.

Although I said 15 seconds,

at first, if it takes 10 to 20 minutes,

that would be enough.

It's good enough to reduce it by up to 20 minutes.

Therefore,

focus on getting the thumbnail.

And try to compose a variety of screens.

If you have one that you like,

moving on to the 2nd and 3rd sketches,

anticipate the coloring stage

to the final stage.

It's going to be a great study method.

For those who want to work in the illustration field,

I recommend you go through this process a lot.

Next time, I'll use this one

to work on the illustration.

I'll think about what to choose.

I'll wrap up today's class now.

See you in the next lecture.