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Hello.

Previously, we composed the thumbnail sketch.

Today, we'll rough in the colors.

So, I have the lines of a character.

Previously, I wanted to

also teach you how to draw the outlines.

But, as I made the curriculum, I focused more on creating the atmosphere.

So, I omitted that part.

So, I'm just going to briefly go over

what's important when you're drawing lines.

Today, I'll show you how to rough in colors.

I'll tell you the details as I go on.

When you rough in colors,

instead of coloring in after you have the lines done,

it's actually the best to rough them in

in the rough sketch stage.

Because, there are some things you can't see with just sketches.

The canvas could look empty, for example, after you colored everything in.

Or the areas with less dimensional effects

will be more visible.

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So, before you draw the lines,

you should check those parts, and before you move on,

you should know that it's better to rough in the colors first,

and that because it's a practice drawing,

I drew in the lines first.

First, I'll go over what's important

when you're drawing lines.

When you just have the correct lines,

if you're coloring it in detail,

these won't be that important.

In fact, if you color it in, you won't see the lines well.

So, after coloring it in, the lines aren't discernible.

The lines aren't that important.

Does that mean they have no importance?

That wouldn't be the answer.

The cleaner the lines are,

when you work on it later, you can minimize mistakes

related to the form.

There are also people

who find the outlines attractive.

So, making the lines attractive

and sophisticated

is never a waste of time.

So, how would we make this line area

to make it more detailed?

There are a few parts that we focus on.

The most important thing is

adjusting the strengths and weaknesses.

What's the most important?

First of all,

it would be where the shadows are.

What does that mean?

There's some distance between the hair and the skin.

So, between those areas,

very dark shadows are formed.

We call these shadows

closed light or shielded light.

The official name is 'ambient occlusion'.

So, what is this?

When the distance between two objects is close to 0

because they're so close,

there might be areas where the light can't come in.

Then, very dark shadows will be formed

and this will be called an ambient occlusion.

With this part, I describe it as

the shadow that's formed in the distance

between two objects.

We also call it closed light.

So, if the outlines are thick around this area,

by controlling the strengths and the weaknesses

the illustration would look much more

three-dimensional.

That would be the first thing.

The second thing is the distance.

When there's an object at the front and at the back,

you can use the thickness of a line

to separate these objects.

For instance, there's the hair in the front and the sea in the back.

To separate them,

you can make the outline of the hair thick.

Let's make it thick

and compare the before and after.

See how I made the screen small?

You'll quickly notice that

the hair looks like it's

sticking out a bit.

Similarly, you can make the character's outline thick

to separate the background

from the character.

If you're creating a cute atmosphere,

or a casual atmosphere,

these types of lines would often be used.

They're also used in more dynamic illustrations.

So, there's the difference between different distances.

The third one is very ambiguous.

The third one is related to the strength,

but what is it?

It really is ambiguous.

From now on,

these elements

are related to applying deformers.

The brightness and shadows are more like a theory.

So, what's this strength?

You might have seen some scenes,

in animations or comics,

if the character swings their sword forward like this,

the front line becomes thicker than the back line.

Or, if they show their fist,

the front line becomes thick like this

and they would hit something with their fist.

Likewise, you can draw a bold line for places where the strength is applied.

You can draw a thin line for the opposite.

That way, you can show the force lines.

For example, at this shoulder part,

I cut off this part

to show these.

Or, for characters with big breasts,

we can emphasize the breasts

by cutting the line in the middle once.

If you cut it like this,

people think that there are two lines

that go outwards,

so it gives the impression that the breasts are bigger.

That's how the line that we're thinking about

is recognized in this way.

So it makes you think that it looks a bit bigger.

In that way, strength control can now be applied to the area

where the force is applied or the force is lost.

So, you can use these

to draw a line that's charming,

so I think it'll be better to be aware of those things

when you draw the line.

I didn't put too much into drawing the lines

because today's lecture is all about coloring.

But there's a certain amount of force control.

I'm going to color it now, but

there are steps to coloring.

I'll explain it as the steps to coloring

instead of steps to copy coloring.

I'll turn this off for a second.

The steps to coloring.

I'm going to apply the base color first.

I'll apply any color

on the bottom layer of the Outline Layer.

Remember when we learned about Clipping Masks?

Press ALT to clip the layer above

or lock the layer itself to prevent it

from sticking out even if you apply other colors.

If you do this, it'll be easier to color later.

The second step is matching the colors.

I'm going to apply the color I want.

I'll apply the primary color of the color scheme I'm going for, like this.

But there's one thing I need to do first.

What you need to do before coloring

is lighting.

This time, I'm going to skip this part halfway.

Why would I do that?

We're going to change the lighting according to the atmosphere in the next lecture,

so I'm going to apply lighting as briefly as possible

and start coloring it right away.

But actually, you have to apply the lighting before you color it.

But why?

This coloring is based on the frontal light.

The light that this character receives as a whole,

or the color of the space that this character is in,

would be the background color, or background light.

When the character gets that kind of light,

you have to make it the base color,

so you have to decide on the lighting first

so that you can definitely color it.

For example, I'm going to draw a night background,

so the character will absorb blue lighting overall,

so it'll be a little bluish.

But if you don't pay attention to it during the coloring stage,

and if you apply raw white or raw yellow,

it's going to be a color that doesn't go well with the night background.

In the end, you need to edit all of this later.

If you do that, you have to work more.

The color will be awkward during the editing process.

So, it's important to

set the lighting

before you start coloring.

Now that we're done coloring according to the lighting,

we're going to give it some light.

If the previous step was to decide on the lighting,

the latter one is to apply the lighting.

I'm going to add a simple shadow.

At this stage,

what I'm going to show you in the demonstration is

a bit like doing cel animation.

I'm going to color it like cel animation.

These days, the term "cel animation" is a bit vague.

I'm not sure what to say since the meaning has changed a lot these days.

I'm going to go through the process of applying the lighting simply

like an animation.

And then we go into the description process.

We're going to go through a series of processes.

Today, we're going through

these steps

from here to here.

Then, let's go on.

I'm going to apply the base color first.

There needs to be a prepared outline.

If you have the outlines, you can easily paint underneath it.

How do you do that?

It's based on Photoshop.

Clip Studio Paint is a little easier.

It's because Clip Studio Paint

has a better Select function.

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So, it's easier.

The Pen tool and the Select tool

are optimized for drawing lines,

so Photoshop users

need to endure some discomfort.

I wish there was a good way to do this,

but I haven't figured it out yet.

First, please select the background part like this.

Press the Shift key to select more.

If you press the Alt key, it's deselected.

Let's use that to select the background

with the Shift key.

If possible, it's better to

draw the outline neatly.

Now, we selected the background.

So, what makes Photoshop

a bit annoying to use?

I'll press Ctrl-H to hide the dotted line.

If you paint it like this, there are subtle dots left on the edges.

There aren't that many left, but it's very uncomfortable.

So, how do we hide them?

If you go into [Select] - [Modify] - [Expand],

you can zoom in on this, selecting

as many pixels as you want.

If you zoom in about two pixels,

it's going to invade the line like this.

Now, if you paint it like this, you'll see that the uncomfortable parts

you saw earlier are not visible.

In this state,

right-click in the Selection Tool state

and you will see these windows

where you will reverse select.

Now that you selected the opposite of the background,

what do you think you selected?

Of course, it's the character.

The background became selected, too.

Let's remove it in a similar way.

If you do this, you can apply the base color as quickly as possible.

It doesn't matter what color you use for the base color.

It's okay if you can just tell the difference.

We're dividing the areas, so

there are people who are dividing the

outfits, skin, and hair layers,

and there are people who are using one layer like I am right now.

That's the difference in

how you feel comfortable working,

so there's no fixed answer,

but there are pros and cons.

If the layers are divided into parts,

you can prevent the color

from spreading.

So, the advantage is that you can

color in more accurately,

but the overall color correction process is annoying,

so sometimes the uniformity is a little weak.

To put it the other way around, if it's colored like this

then the sense of unity might be stronger,

but the whole color could be mixed.

So, you can take that into consideration

and proceed according to

where you need it.

I usually prioritize the sense of unity

when I proceed with illustrations,

so I am proceeding as I am doing now.

Now that I've done the base color,

I'll color the primary colors.

The tentacles in the back were white.

I'll color it with some grayish colors and a bit of a bluish colors.

This time, I'm going to set the space color

to a bluish color

and give it low saturation.

So I'm going to add that kind of light to this character.

I'll create a layer

and apply a Clipping Mask.

At this stage, if possible,

I recommend turning off the pen pressure at this stage if possible.

You don't have to turn it on,

so let's color it in the widest area

just once

and color in the base colors for each part.

It's a work that requires a bit of manual labor.

Today's main purpose is to rough in colors.

I'll use some remaining time to explain about it.

Roughing in colors.

If there's the thumbnail sketching stage in the sketching,

there is the color roughing stage in the coloring stage.

Of course, it's the stage where you try to make the image you were imagining.

That means that the thumbnail is done,

and we did the 2nd sketch from there,

and now we applied the color underneath it.

We even did the color rough.

So, that image is not that different

from a completed image.

The only thing that's different is the quality.

The degree of simple depiction

is only different from how much I've done,

but in fact,

the painting is almost done in the color rough stage.

Of course, there are people who

spend a lot of time expressing things later.

But in terms of the composition of the drawing,

it's done in the color rough phase.

So please don't think that

this roughing in step is simple.

This is also a very important stage

like the thumbnails we did before,

and if you consider this work a little too lightly,

or if you look down on this process,

you'll have many errors

when you work on it later.

So, what kind of mistakes can you make?

Let's say you wanted to do a different theme

from your previous works.

After you proceed in your work,

you'd eventually be done.

You wanted to try something different this time,

but you will get the same result as before.

You'll have those kind of errors.

As I said before,

people don't have a long image memory.

Because of that,

we forget the image

that we previously thought of.

So, in that time,

the habits that you previously had

affect your illustration.

So, you should do the color roughing stage as quickly as possible.

That way, you'll minimize the possibility

of your previous habits getting in the way.

Then, how should you practice color roughing?

I usually say it at the end of my lectures,

but I'll say it first today.

When you color in basic colors, you can do it as you want.

You can practice roughing in the colors

by just doing that,

but, like thumbnails, you can use references.

In the thumbnail process,

I told you to set a reference.

Likewise,

color imitation

has its references from real life too.

So, you should look at illustrations

to copy in dimensions.

You don't have to do it in detail.

You can just simply color your illustrations.

You can practice

for about 40 minutes to one hour

and copy the drawing with dimensions.

You should copy it without sketching

and copy with dimensions.

Of course, when you're drawing,

it's best to use the Eyedropper tool as little as possible.

It's important to understand the colors that are in there.

So, I'm not going to use the Eyedropper tool.

I'm going to choose directly from the Color Picker.

I'm going to pick the same color

and increase it one by one.

If you do it for the first time,

it'll be very different from the color that you saw.

For example,

you might think the color is a high saturated blue color.

But, when you actually color it, it could be very different from what you saw.

For instance, when you use the Eyedropper,

it might actually be a low saturated purple color.

There could be many differences from what you thought.

That's because of an optical illusion.

Previously, we learned the contrast between warm and cool colors.

We're going to reduce the errors

that are commonly made at this stage.

It helps a lot in the color roughing process.

So, I recommend that you study

by copying the dimensions.

The thing with copying the dimensions is

you won't do it unless someone tells you to.

Some of you might not do it even after taking this class.

So, I strongly recommend you to do this.

It will help you if you do it.

I believe it will help you a lot.

Practicing with the color roughing

is very important.

So, roughing in by using colors

will help you with the coloring stage.

In my case, I gather students every Tuesday

and force them to do it.

Of course, I do it with them.

Since we're doing the assignments together,

we're going to color in the metal parts.

I'll give you some tips for coloring metal parts.

Basically, metal has a strong contrast.

What I'm saying is that

metal materials are strongly reflective.

They sparkle.

So to give it a sparkly look,

it's good to use dark colors for the base color

when you color metal.

If the base color is too bright,

it doesn't feel bright when you add highlights.

Then, the amount of work will increase,

so using dark colors

for the base color

will increase the stability when you're coloring.

If you want to be a concept artist,

you'll use a lot of warm tone colors,

and you'll use them a lot then.

Especially, when you draw metal,

when you draw yellow metal,

like gold,

people usually color in yellow.

Very bright yellow.

You should never do that.

So, how would you describe gold?

Use this color.

It definitely looks brown,

But, later, we're going to add highlights

like this.

So, when you're coloring metal,

the base color should be brown.

I recommend you use dark colors.

For those who want to color yellow even if it's hard,

it doesn't matter if you do that,

but, I want to tell you that this process will be hard.

Fortunately, this character's color is quite simple.

So, I don't think I'll waste that much time coloring the base colors.

To this character, I've applied some of

the previous character's design.

I'll quickly color the base colors

and continue with the lights and shadows, which is today's topic.

The reason why people find it difficult at this stage is

they usually don't know what color it will become if this area looks dark.

That's the biggest challenge.

And people don't know exactly where it should be dark.

That's the second hardest part.

Especially with the second hardest part,

it's related to drawing theories.

Of course, it's the same for the first one.

I think for the first one, it's also related to applying deformers.

But the second one is really theoretical.

If the light comes from this direction, this object gets light like this.

You have to predict this.

If you want to practice that part,

rather than practicing coloring, you need to practice drawing.

So, let's say you decided on the light.

The light came from the right

and so you colored it like that.

But, the final result might not look like this.

This happens when you don't clearly understand the form

when there's light, so you can't shade it in.

So if you're in that situation,

then, you need to practice with forms.

You shouldn't practice coloring.

If you draw with your hands,

you can observe the overall form of an object.

It's much more effective if you practice like that.

So when you work on coloring,

and if it doesn't look fancy but flat,

you need to go back,

to the drawing part.

Not all,

but some people who have difficulties like that,

are a bit careless about drawing.

There are a lot of people who didn't draw well.

When it's hard to color it, they hold it for a long time.

I've seen a lot of people

who don't spend a lot of time on drawing.

Make sure you don't do that.

While I'm talking, I'm almost done with the coloring.

Also,

the colors will be very different depending on the monitor.

Especially the monitor that you're working on,

it might not be accurate.

But the monitors of the viewers are not the same.

Then since many people might see it,

it's important to draw a good color.

So the most effective method is

to looking at multiple monitors simultaneously.

If you have dual monitors,

or a main monitor with a sub monitor is good, too.

If you don't have them,

you can use your cell phone.

There are not many people who don't have a cell phone.

So you can use your cell phone to check it.

Or if you have an iPad, you can use that.

Or ask a friend if you can use their phone.

It's good to borrow someone else's phone and take a look at it.

By checking it through various methods,

the color of your drawing will change little by little.

So, to make all of those parts nicely,

it would be good

to have some time to match things up.

It's one of the most important parts.

The more sensitive

you get in sensing the color,

if there's even a tiny color difference in each monitor,

you may get really angry about it later on.

There might be people who have experienced this.

So, I can't do anything about it.

It's not like the monitor that we use

is exactly the same as another person's.

So we just need to make sure

by checking many different monitors.

Now, I'm going to color in the gloves.

If you paint the inside of this outfit,

it's almost done.

It's good to color it neatly,

so that there's nothing that sticks out more than this.

Since I have to do it quickly for demonstration purposes today,

with the parts that stick out,

please pretend that they aren't sticking out.

Please do that.

Pretend that they are not sticking out.

I'll work on the tentacle at the front, too.

Now, here I'll tell you

a function of Photoshop.

I drew a tentacle in the front,

but I didn't draw its outline.

I'll tell you a tip.

If you press the FX in the lower right corner,

you can apply various effects to the layer.

There's something called Outer Glow.

The default setting is Screen,

so it shines like this.

If I briefly tell you about the types of layers,

Normal is when

we just colored it in.

Multiply

adds a little shadow on the bottom.

You can think of it as adding cellophane paper.

Lighten

only applies brighter colors than the bottom.

So, when there's white at the bottom,

nothing's going to happen.

For example, if I make this color black,

because these colors are brighter than black,

nothing's going to happen.

On the other hand, Darken,

this function

is basically the same. It would color darker colors than the bottom.

So, if you set this color as white, nothing happens.

And Screen.

It feels like I applied light to the bottom layer.

It becomes brighter.

But, it's not because the saturation is higher.

Instead, it's more like giving light to the color.

So, it will be a bit brighter.

Overlay.

This one becomes a little more bright.

The saturation becomes stronger

and it's kind of like burning the picture.

So, that's Overlay.

These are the ones that are used often.

Overlay, Soft Light, Lighten.

Darken, Normal.

Even if you just know these five,

you can work on most illustrations.

What we're going to use now is Normal.

I'll choose a color that's appropriate for the exterior.

If you reduce the size as much as possible,

it's kind of like an outline.

This is how you can quickly draw the outline of the tentacle.

If you can't see the line, change it to black.

It's a good method to use when you're too lazy to draw outlines.

Now that I'm done coloring, I'm going to add some shadows.

As I said before,

I'm going to give it a simple light.

That way, I can change the light in many ways

to match the character's mood.

First, I'll tell you what kind of light I'll use.

For the lighting, it's always good to draw a chart

for how you're going to give the light.

This.

What should I do?

Light, Table.

There are four things you have to think about.

First, the number of light sources.

And the amount of it.

Second, the direction of light.

The starting point of the light

is important as well.

The third one is the color.

The color we are going to use.

Fourth, the density of light.

How dense the light will be.

If you can think of these four things,

then you set a certain level of detail

regarding the light before we work on it.

So I mentioned background color earlier.

I applied the blue with a low saturation

to the light coming from the entire space.

I made this density low.

Because I made it a bit dark.

And where should I give the light?

Slightly right above from the center.

I'll give light to the character from here.

The color is close to white light, but it's kind of blue.

Among the blue ones, it's a turquoise color.

The density is a bit strong.

I'm going to apply

about the medium.

Since the bottom floor is white,

I'll position the reflective light coming up from the white floor.

Floor.

When the main light comes in,

the light is reflected in the surrounding background,

and go back to the character.

So with the reflective light from the floor,

a very weak white light,

the very weak one,

I'm going to use these three lights.

One important thing at this point is,

please add the background color from your imagination.

Sometimes, I call it frontal light.

Make sure to add the background color from your imagination.

What happens if you don't add light?

Let's review and do it again.

When there's no light at night,

this person is standing like this,

and if you turn on a flashlight,

you won't be able to see this person's face.

Because there's no light other than the light from behind.

We can only see the silhouette of this person.

But when we give Backlight to our character,

you don't draw it so that you can't see it.

Do people draw characters like this?

I don't think so.

When you draw characters, most of you draw them to see the front part.

Then why do you see this?

It means there is light coming from the foreground, even though we don't see it.

I don't know what this light will be.

Someone may be shooting the light from here,

or the light behind it

may be reflected by the wall.

So they might come in from here.

This is the background color.

It comes in like this, and the light reflects off,

so it could be coming into our eyes.

I don't know where this came from,

but based on the fact that we're drawing characters,

we could say this character is receiving

the light from the front.

So, make sure to give one spatial light.

There are not many cases when you don't have this.

Unless it's an extreme situation, this won't happen.

When you draw characters...

Let's move on to the next one.

Make a layer

and create a Multiply Layer.

There are two ways to do this.

The Multiply Layer makes things dark.

You can apply light and shadow by using the Multiply Layer.

You can work on the light and shadow this way.

Or on the other hand, you can make the base color a bit darker.

I'll color this a little darker.

You can use the Screen Layer to add light.

There are two ways.

You can choose the one that's more comfortable.

You could add in a lot of shadows,

or alternatively, you could add in a lot of light.

If you give a lot of light, there will be a lot of bright areas,

so, you'll save time working on the dark areas.

To put it the other way around, if you're going to add a little light,

since there are a lot of dark areas,

you can finish with the bright areas much more quickly.

It depends on your efficiency.

If you want to go beyond just using the Multiply Layer,

and just use the Normal Layer,

you can do it like that,

but you'll have to work on your drawing a lot.

It's hard to use each color.

It could be a bit difficult.

So, if this is too difficult for you,

Use the Multiply Layer and apply any color.

What's important is where the color is applied.

The area where the color is applied is important.

Just apply any color.

Now that I'm done with this,

I want to give the character

a bluish light.

Then, let's select this part

and just give it blue color.

Ctrl+U

I previously mentioned the three wonders of Photoshop.

Ctrl+U, B, M

You can use all of this

until you have the character that you want.

So, you can work however suits you.

For your information, I usually use the Normal Layer.

I'm currently using the Multiply Layer

because doing this is a bit easier.

I think it'll be easier for you to approach.

That's how I'll do it today.

So, how would you choose the color of the light and shadow?

We just gave it a blue light.

That's why there's a bit more blue

Even if you know that much,

it's okay for now.

I'm just going to continue.

If there's a part where you don't like the color,

edit it as much as possible at this stage.

If we edit the color like this,

the color becomes awkward.

But we're in the roughing stage now.

No one complains that the roughed-in colors look weird.

We're going to modify it anyways later.

So in the roughing stage, edit as much as you want to.

You should edit the character

until you get the design you want.

That's why we rough in colors.

I'm going to edit it as I like.

I like to use the Lasso Tool at this stage.

I'll select it like this.

If you draw with the Eraser Tool and the Brush Tool,

If you do it like this,

we can work much faster.

It's very useful when you're roughing in colors.

Assuming that the light comes from the top left,

where does the light come in?

And where will the shadows come in?

It's important to think about the dimensions.

You have to be able to keep looking at an object's three-dimensional aspect.

Then, what's important?

It's important to recognize it as

an object

instead of a skin or a clothing.

So, it's just an object.

We're not describing the material right now.

Don't worry about the material at this stage.

This isn't even the skin area.

It's just clay.

It's okay if you look at like that.

This process is more important than you think.

When we're coloring the hair,

there are people who color like this.

I'm sure that applies to some of you

who are watching this video.

But, instead of coloring this hair,

let's color a sphere that looks like this.

Everyone colors like this.

Let's color the edges dark.

But actually, the latter is true.

There's no need to be this dark in the middle.

We're coloring it like this

because we think it's the hair.

But, I'll exclude this thought.

If you simply think of this as a three-dimensional object,

then you can color it more accurately.

Then, the lighting and shading will be quite accurate.

So, when you color,

if you haven't thought like that before,

I hope you change your perception.

It's going to make a big difference.

Now, I'll tell you about the order of drawing when you want to give shadows.

There are three main types of shadows.

The first one is Cast Shadow.

It's the shadow between things.

It's simple.

Because of the object up above,

shadows are cast on the things below.

The clothes that receive shadow because of the hair,

or the arms that receive shadow because of the head,

these shadows are called Cast Shadows.

And then there's Form Shadow.

It's formed because of the object's is three dimensional.

This one goes around like this.

As much as it goes around,

the middle area receives a lot of light,

and the edges will receive less light.

So, Form Shadows are formed when an object becomes dark like that.

The third one is Ambient Occlusion.

You can look at it like this.

Ambient Occlusion is part of Cast Shadow.

It's part of Cast Shadow,

but as it's confusing,

I just separated it into three types of shadows.

This Form Shadow

has less contrast than Cast Shadow.

This is because

this one is completely dark because the light is blocked by the object on top.

It's really hard for light to come in.

But, with Form Shadows, an object receives light.

It just has a little bit of turn.

It's not that it doesn't get much light.

So, Form Shadow has less contrast.

Which means it's less dark.

So, when I do coloring work,

I want you to work on Cast Shadow first.

It's because if we add light and shade from the weaker areas,

not only does it take a long time,

the contrast gets stronger when you're coloring.

I'm sure there's people who do it like that.

The more light and shadow you give, the darker the illustration becomes.

Or, the illustration could become completely white.

I'm sure there are people who have that kind of problem.

In that case, most of the time, in the process itself,

there are times when it gets stronger

than what you intended

as you're giving that kind of light.

To minimize such problems,

let's say I applied Cast Shadow first.

The Cast Shadow is darker than the Form Shadow.

So, Form Shadow.

It's formed after the Cast Shadow,

and at least it's brighter than Cast Shadow.

So, you can make it brighter, then that's all.

Then the drawing won't 'burn'.

Compared to the Cast Shadow that I applied at first,

it won't get dark.

So it's much easier to control it.

So, when you're coloring,

it'll be easier to work on it

if you think of

applying the shadows around the objects first.

I'll continue to work on the shadows.

The second reason why I work on Cast Shadow first,

is because it can be easily forgotten.

People make a lot of mistakes

by not drawing shadows

even when it's an area where shadows can be formed.

Especially, people forget Cast Shadows.

So, I do this first so that I won't forget.

You'll forget a lot from now on, too.

So I worked on it first so that I wouldn't forget it.

You need to keep paying attention to these things.

I'll color the object at the back

a bit darker.

Remember these cracks

that weren't expressed when I applied the base colors?

Let's add a little bit of these at this stage.

It's starting to look like an illustration.

To be honest, even if I just do this,

I can create simple illustrations.

From now on, we're going to

strengthen the nuance of the illustration.

I'm going to make this character cute,

and make it calm as well.

I'm also going to make it strong and scary.

Let's have fun.

In the end, this process is about playing with your drawings.

I'm going to play with it in various ways.

As I do so, I'm going to tell you

what's important.

So, you can apply it

to the illustrations you draw

as you are aware of these things.

If you draw it cutely, you need to strengthen the cute side.

For those who want to draw calmly, strengthen the calm aspects.

It's important to proceed

according to your intentions.

Now that the light and shadow are in place,

let's change the color.

I'll use the Lasso Tool

to make this side brighter.

There's a part in the middle that receives strong light, right?

I'll brighten it up like this.

I think there is an overall strong reddish color.

But, I want to add more bluish colors.

I'll use the Color Balance tool to add more blues.

I'm going to use the tools that I mentioned.

And I'll use the Lasso Tool.

This Lasso Tool is very useful.

The biggest advantage of this Lasso Tool is

it doesn't get affected by the Brush Tool.

Whether I draw well or not,

or whether I draw with a mouse or a tablet,

the Lasso Tool has the same results.

So as long as you get used to it,

even for those who are not used to coloring,

you'll get used to it soon.

For those who are not used to coloring or tablets,

especially if you're not used to tablets,

I think it would be good to

do the early work process like this.

If you just use it a few times,

you'll get used to it quickly.

You'll know if you try it yourself.

It's simpler than you think.

If you use the Lasso Tool,

you can just select the areas you want to apply the light and shadow

and apply as much as you want.

So, we learned how to rough in colors

today.

Now, let's

talk about the lighting.

We'll go over this briefly.

What's important in the lighting process?

We're going to take time learning more about light.

What is light?

When we studied lighting last time,

I'm sure I told you what it is.

And when I was doing the illustration earlier,

I told you that it is important to

realize the four aspects of light

before you start working.

And there's one more thing we need to choose.

Soft Light and Hard Light.

Why are they so important?

It's because of the amount of information.

You need to know what Soft Light and Hard Light is.

What is Soft Light?

Soft light is a light that spreads smoothly, literally.

It's a light that spreads smoothly,

so there's a gradation with the light and shadow.

So, they will be layered.

That means there's a lot of information about light and shadow.

The fact that there's a lot of gradation

means that there is a lot of information.

So when we're done,

the illustration will have density.

On the contrary, the downside is

that the illustration can have too much information.

If you use Soft Light for a character with a complicated design,

you might not see its design well.

That's the problem.

On the other hand, Hard Light

gives a clean contrast between objects.

Compared to the Soft Light that I mentioned earlier,

it gives a different vibe.

It looks bright and strong, so you can see it clearly.

But as the shadows don't spread smoothly,

the amount of information can be a little small.

But it's a slightly different scenario.

Let's take a look.

This illustration is an example of Hard Light.

Like I said before, when there's a lot of information,

let's say there's the background,

a chameleon, the main character, and some small things.

In a situation where there's a lot of objects,

if you use Hard Light,

since the light and shadow areas are neatly separated,

when you look at it at first glance, it gives you a very comfortable feeling.

I think a scene from an animation would be a good example.

An animation has simple characters,

but complicated backgrounds.

So compared to the background, the character

is just drawn in simply.

You'll be able to see the illustration clearly.

Then, I'll share another scenario.

This is an example of using Soft Light.

When there are relatively few elements,

to make people more focused,

using Soft Light is the best.

It feels like the light is spreading out smoothly.

So, you can draw attention to the center.

This illustration has a lot of elements and there's Soft Light applied.

So, this illustration has a lot of information.

There's a lot of information already, but it's doubled.

So, this illustration will have tons of information.

That's how I approached it, so I worked on it like that.

But, if you want to draw a simple illustration,

such as a casual-style illustration,

and you don't want to draw a sophisticated design,

then the character would look too bland.

In that case, we can apply Soft Light.

That's more effective.

But let's say your illustration's design is complicated.

You might think it will get too complicated if you use Soft Light.

In that case,

you can apply Hard Light like you did before.

But there's another way to use this Hard Light.

If you use Hard Light like this,

as I said before, you should draw it simply.

But there's another example for using this Hard Light.

What is it?

It's the dark areas.

The dark areas are literally where the shadows come in.

Depending on how much it's darkened,

what I just said could be reversed.

For example, let's say I applied lighting like this

to this illustration.

What do you think?

I definitely used Hard Light.

But compared to other examples of Soft Light,

doesn't it have a stronger impression?

The reason why it has a strong impression is

because the amount of shadow and light are at a 5:5 ratio.

So, there's half light areas, and half dark areas,

and that's why it looks very complicated.

So, our eyes will get confused.

That's why it's good to use these lights

when the design is simple.

When you want to give a strong impression while keeping the design simple,

and when you want to apply Hard Light,

or when you want to color it neatly,

then, you should widen the areas

of the light parts and the dark parts.

Hard Light gives more information to

the parts that look neat,

in other words,

the parts that have little information.

Then, is it good to have a wide dark area?

And if the shadow is wide,

you may think the illustration will be complicated.

Actually, that's not true.

I mentioned the proportion before.

In the case of illustration with a lot of dark areas and there's a bit of light,

it works the opposite way.

On the contrary, it becomes neat.

It's just an overall dark and calm illustration.

So the important thing is the proportion.

It looks a lot calmer than the 5:5 light we applied in the previous one.

If we apply it like this,

the overall image,

compared to the previous illustration,

becomes a little more calm.

So, during the lighting process,

adjust the amount of darkness

according to the mood you want.

You'll be able to do the coloring more easily.

If you want to give it a simple mood,

or if you want to give it a light mood,

then like this, add 3 shades of light and shade.

If you want to give

a strong impression,

then adjust it to 5:5.

If you want to make it simple,

but you want to maintain some weight at the same time.

Then add less light like this,

and by using it depending on the situation,

you will be able to get the mood you want easily.

Of course, when we do this in different moods,

we're going to talk more about that character's work.

Let's talk about it once again by that time.

If you use a soft light form,

like this,

you can use it according to the situation.

First of all, today

we went through the lighting

and the roughing in color.

At this point,

this character looks a bit intense.

To make it clear, I'll make the line brighter.

If you make the line brighter,

the overall impression

changes to fit

the intense image.

We're going to change the nuance of this one.

I'm sure you are going to enjoy it.

It's the part that I wanted to show the most

in this lecture.

So let's work on it,

from the next lecture.

Then, I will end today's class here.

Thank you for your attention.