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Hello.

From today,

by using a character we worked on with color roughs before,

and applying many different moods,

in this lecture, I'm going to recommend

different types of directions for various moods.

When we were talking about the previous illustration,

the type of illustration that people like

has a certain pattern,

and by using that pattern,

we could approach our illustration more easily.

By using it,

we're going to learn

how to apply it.

Within this curriculum,

this is something that I wanted to show students the most.

In my class,

I want to emphasize drawing as you intended

the most

as I told you in the first lecture,

and I hope you

take it to heart.

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So let's work on it.

At first,

we decided to make this character cute.

Although there could be many interpretations of the cuteness,

I'll interpret it

as a bright mood.

Because of the current design,

the character's eyes look a bit scary

and it looks a bit serious.

So I'm going to make this character in a different mood.

Just in case, I need to back it up.

For future comparisons,

let's work on layers that you can see,

to see the difference.

I'm going to draw a cute illustration.

To express a cute illustration,

Which part do you think is important?

It doesn't apply to all of them,

but

if it's a cute illustration,

warm colors are often used.

Warm colors,

such as, yellow and red,

it's going to be these kinds of colors.

Some of the green ones are also warm colors.

There are many cases where warm colors are used like that.

And overall, a baby-like tone is used a lot.

You can call it a milky tone,

mixed with white.

You can give it a high contrast, but,

usually for these types

we tend to use

colors with a softer tone.

The overall contrast is

not that strong.

If it's too strong, the drawing will be too intense.

So if you wanted to create a cute and warm atmosphere,

it's good to break away from high contrast illustration.

Especially some people use the reds,

and brighter colors sometimes.

The skin turns really red.

In that case,

although the first thing you wanted to do was to have a warm atmosphere,

after doing it, the overall mood of the illustration looks really strong,

like it's blazing.

For those who feel it is like that,

there must have been some mistakes in the setting,

like the contrast between the saturation.

So it is important

to prevent things like that.

Let's move on.

I'll add some eye glow to make it look cute.

It's not an eye glow, but a highlight.

I'm going to paste all the colors I've used before,

to change the color first.

By using Ctrl+B, the Color Range Tool,

I'm going to add a reddish color.

And I'll select the areas that receive light with the Magic Wand Tool.

I'm going to make the light part brighter.

Use the tool [Select] - [Color range]

to choose the range you want.

Press the Shift key and select the range you want

and I'll raise the saturation a bit.

If you increase the saturation too much, as I said before,

it can make the impression too strong.

So, to avoid that,

I'm going to make a gradation.

You can turn on your Pen Pressure from now on.

When you edit your drawing,

at that stage, you can turn on the Pen Pressure.

The reason why I turned it off before is because,

if you can't control your Pen Pressure,

if you press these buttons at the top,

you can turn it on and off.

But, if this is your first time with a drawing tablet,

or if you're not used to using one,

I think it's better to turn off the pressure.

It's much more helpful for later work.

So in the beginning,

I recommend that you turn off your Pen Pressure.

And there's that, too.

When you work on colors,

you might make some colors a bit vague.

Even with the parts that you don't know well,

you might be able to color them in with Pen Pressure turned on.

So, I recommend you turn off your Pen Pressure

so that you won't rely on luck.

But you'll only do that in the beginning.

If you're a bit past the beginning,

from then on, you can use the coloring method

that you want.

When I teach students,

I don't recommend

a certain coloring method to them.

I think it's good to change the background a bit.

I'll make the background color

into a mild color.

I'll make it a little darker.

I'm going to use gradation here

to make it a bit softer.

Let's spread it out.

I'm going to edit it as well.

I'm going to make a layer on top of the outline layer.

Let's get started.

As I said before, due to the character design,

it looks a bit

scary, don't you think?

So that we can cover up those parts,

I'm going to modify the drawing composition bit by bit.

The first thing I need to fix is

this hand.

In terms of the overall flow of perspective,

this hand could be one of the elements

that could be a sub element

to the gaze that goes downwards from the face.

You can see the hands after the face.

But when we have the main and sub elements together,

there's a difference between

when you put them close together

and when you place them far apart.

If you place them far apart,

it's easy to give a calm impression.

On the other hand, the closer you put this on the character's face,

it makes the character look a bit cuter.

When you want to make a strong impression, it will help you a lot.

Like this.

Pull the hand up and bring it closer to the face.

Put this hand to the side a little bit more.

Since it looks calm right now,

I'll try to make it look even more calm.

I'll change it to a powerful posture.

I think it's better to have a strong posture

so that the character looks

more energetic.

If it doesn't have a strong posture, it could look calm and mature.

When you give it this kind of feeling,

when you choose between two things,

it will be very easy to work on it.

For example, if you move the arms far away,

which one is cuter, closer or farther?

That's what you would ask yourself.

I'm going to finish this section here.

I'll make the light a little stronger.

I'll strengthen the contrast a little bit.

If it's too bright, like I said before, it's going to be intense.

So, you should avoid that.

But I'll strengthen it

until the illustration looks clear.

Instead, you can widen the area of the light

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and brighten up the overall illustration,

it will fit the bright image that we want to create.

If you compare it to the beginning,

you can see that the feeling changes to a certain extent.

Especially in this cute image,

the overall visibility needs to stand out.

So, it should be easy to see the picture at a glance.

A cute first impression

is part of your intuition.

While we usually enjoy sentimental things slowly,

being cute is kind of like

the refreshing first bite

when you taste something.

How can I compare them?

It's the difference between fine dining food and fruit.

It's refreshing when you eat fruit in one bite.

Isn't it?

If it doesn't feel like that,

we don't usually eat that fruit.

So, it's important to give that sort of feeling

when you're going for a cute illustration.

Put freshness into the picture.

If I have to express it, it's kind of like that.

I'm going to create shadows.

It'd be nice to make the character blush, too.

It used to be a character with very pale skin color,

but let's strengthen the areas

that could look a bit cute.

Like this.

But if you do it too much, it'll stand out.

So, strengthen it just a little bit.

So, to make the eyes look clear,

I'll make the pupils bigger.

Let's add one more thing.

Now, with bright illustrations,

it'd be nice if it had a sparkly vibe.

But to make it sparkly,

the basic drawing needs to be a bit dark.

What I'm saying is,

if it's too bright,

it will be just a white illustration.

It won't be a sparkly illustration.

When do we use

the expression 'sparkly'?

You use it when you look at the stars in the night sky.

The stars.

The night sky is dark, right?

Because the stars shine brightly, we look at it

and say that it's sparkling.

Because of that,

if you want to make the character to be more sparkly,

there need to be dark areas.

There are many people who misinterpret this part.

Say you want to draw a cute and bright character,

but it doesn't have that sparkly look when you draw it.

There are a lot of shining parts and it's flashy,

but you can't feel that.

Most people who think that

don't really use dark parts in their drawings.

You have to think the other way around.

To make a drawing look cute,

it may be that the darker parts need to be increased.

Because of that, with even the hair parts,

I'm making some dark areas.

Since I made it dark,

remember the character's hair was white before, right?

White hair can't be highlighted.

They're all white, but even if I use white here,

it won't really be emphasized.

But by shadowing some specific part like this,

if you apply a color close to white,

in the middle section, like this,

this part shines as bright as the highlight.

So if you look at the before and after of the illustration...

Before.

After.

You'll be able to see

the hair shines bright like this.

That's how you use the highlights.

It's important.

It needs to be dark to use highlights.

That's must-have knowledge.

With the feeling that the shadow on this side is a bit more vivid,

although the shadow of the head wouldn't look like this,

matching with the shadow on the bottom of the neck,

to make the direction of the shadow more visible,

from the viewers' perspective,

I'll designate it.

As I said before, visibility matters.

Be careful not to add too much shadow.

And make the illustration clear.

Would it be cute to have more creases?

Or would it be cute if there were fewer creases?

It's easy to answer.

When I ask you regarding this nuance,

9 out of 10 people come up with similar answers.

Most of the cute clothes,

like zip-up hoodies, etc.,

they don't have creases that much.

Usually, dresses

or luxurious dresses,

those kinds of clothes often get creases.

Since we're drawing a cute character,

in the current situation where you draw a cute character,

creases on clothes and the texture of hair,

it's important not to break it into small pieces.

"Is it cute when the colors are colorful?"

"Or is it cute to have one color?"

It's cute to use various colors,

although it could be a bit childish,

it will look pretty.

I'm going to go into more detail in the description stage,

but at this point,

between the boundary of the light-free zone

and the part where the light comes in, you can divide into two parts.

The boundary of the Cast Shadow we learned before,

and the boundary of the highlight.

It's called the boundary color.

You can have a high saturation line here.

Like this.

The thing you need to care about

when you look at this in black and white,

when you look at the illustration in black and white,

I think it's better to go in between bright and dark tones.

I think it's the best.

Let's say I put a high saturation line here.

And if this one stands out more than the color below,

and if it gets dark,

it stands out from a distance.

It doesn't matter if you want to make it stand out,

but if it's not,

and if you want to make it look natural,

in that case, be careful when you adjust the color.

so that it doesn't get darker

than the dark parts.

How could I turn it into black and white?

For those who use Clip Studio Paint,

just in case,

I'll show you how to use it.

Make a layer on the top,

and cover it with white.

And set the properties of this layer

to anything below such as hue, saturation, etc.

Then every time you turn it off and on, the illustration changes to black and white.

You can look at it like that.

For those who use Photoshop,

If you press Ctrl+Y,

there's probably a tool that lets you see in CMYK.

Press it now.

Press Ctrl+Y.

Now, on the upper left

you'll see the word CMYK.

I'm going to use that concept.

There is [View] - [Proof Setup] - [Custom].

If you go in here,

There's a device down here to simulate your preferences.

It will be set to CMYK.

If you click it and scroll down,

you can set it to 'sGray'.

Then, press the OK button.

If you do that, whenever you press Ctrl+Y,

you'll be able to see the illustration turn black and white.

It's quite convenient.

There are times when the black and white tone is different

from what you've illustrated so far.

It prevents such problems.

So, check in black and white as often as possible.

I'd recommend that, too.

The reason why this section is especially difficult is

because of the unique brightness of each color,

the colors we use are often set to different tones.

I'll add highlights like this

to set the mood for the painting.

Let's stop here and compare the before and after.

You can see it's gotten a lot brighter.

What else can I do?

I'll make the highlights sparkle,

Or you can add cute elements.

Something like this.

The tentacled creature here

doesn't look so cute.

But, the setting where the creature is sitting on the

female character's lap is cute.

You can use that setting.

It's like that.

It's kind of like a girl with a dog that looks cute.

Like this.

I didn't make it look that cute,

but it depends on how you express it.

So, just like this, the creature over here

could be eating cake.

It's good to use many cute props.

You'll use dot elements at this stage.

When you want to draw a cute character,

it's good to have all those elements around it.

As I said before,

to make a cute impression,

it's important to give a strong first impression.

To make a strong first impression,

it's good to use various objects around the character

to make the picture look full.

It will be very good.

So, if you look at cute illustrations,

you can see a lot of elements like food.

Food is used often,

and especially desserts.

Starting with that, I could use animals

or add a lot of elements to the background.

That happens often.

Because of that, we need to use those kinds of things

to make the illustration

look cute.

Let's make it eat cake.

It looks disgusting, but it might like cake.

Let's draw it

like this.

I'll continue to increase the highlights.

The color of highlights shouldn't

be too different from that of the character.

So, I'll maintain a blueish color.

If it's too yellow or red all of a sudden,

the viewers would be confused.

If it's a color where yellow is mixed with the blue,

it would be green.

Let's put it in like that.

The best thing to do when drawing cute illustrations is

putting the character in a cute situation.

It's best for this character to act cute.

So, right now, I'm using colors to demonstrate.

Although I'm editing the form to a certain extent.

So, now it looks like this.

When you want to draw a cute image,

I always advise students to think about the situation

before they draw.

Make the background light strong, too.

You should check

whether or not the overall contrast is too strong.

Except for the black part

it's not too chaotic.

If the illustration simply has a higher contrast,

as I said before,

the strong impression will become too strong.

So, it's hard for the viewers

to perceive it as being cute.

So,

it becomes like this.

But, it's hard to think that this is cute.

So, I made the contrast like this.

It's not too strong.

But it is still there.

It's important to keep the overall tone milky.

I'm going to add more tertiary colors.

Now that we're done with this, let's use the Editing tool.

If you used a normal Brush until now,

now let's use this tool.

Before that, I'll decrease the black area.

There are so many black areas.

The cracks don't make the character look cute, either.

So, we should get rid of them.

I'll erase them now.

Now, onto the editing stage.

I'll create one Layer.

Normally, when I go into editing,

I use the Overlay function often.

I use the Multiply function often, too.

We learned a little about layers before, right?

Overlay gives light to the color on top.

So, the saturation will be stronger.

You can say that the illustration will get 'burnt'.

What should I do?

I'm going to use the orangeish colors.

Specifically, I will use orangeish and reddish colors with low saturation.

Make sure that the upper right part is brightened due to the light.

I'm going to make sure of it.

I will make these turquoise areas

to look shiny

like this.

Let's give it a shining effect.

I'm going to make it so that it doesn't become too bright.

After applying it like this, I'll adjust the opacity.

I'll stop when I want to.

Before, and after.

The impression has changed quite a lot.

When you make a cute image like this,

make sure the overall contrast

doesn't get too big.

Make sure it looks milky

while adding a sparkly feel to it.

It's important to adjust the canvas this way.

Since we need to have more shiny items,

the highlight needs to go in here and there.

And at the same time, we have to place the main element and the sub element closer to each other.

Place as many things as you can.

You can add more than this.

You could add a fork,

since it's eating cake.

Since it's eating cake, we could

draw a fork in a cute way, too.

We can add small and cute things like

a fork or a plate.

It'll make the canvas look full.

The first impression of this character

needs to be cute.

It's important to make a clear illustration

that's also intuitive.

Later on, in the background,

it will be a good idea to

add a pattern like this.

If you keep the character's settings,

you can draw an octopus shape here

or to make it look even more interesting,

try giving this character another kind of food.

Because cakes have been used often.

If you look at the tentacles in the back,

it kind of feels like an octopus.

So, the food in the creature's mouth could be a 'takoyaki'.

I've put in some takoyaki.

I'll also sprinkle some 'katsuobushi'.

I'll add some sauce to it, too.

To make it look extra cute,

I'll add an octopus's tentacle.

It's important to make it as round as possible.

We learned it from the lecture regarding silhouettes.

When you apply the silhouette,

of course, it's all included.

When you make cute items, make them as round as possible.

Put some on its mouth, too.

Let's say this side is also eating a big takoyaki.

Like all of them are eating takoyaki together.

Drawing an octopus in the back,

we made a cute illustration.

Let's take a look at the before and after.

Of course, by the time it ends,

we are going to check if there's anything

we could do better by doing self-feedback.

If you look at the before and after...

Before.

After.

The entire mood changes a lot.

I do think

it looks cute.

Let's do one more thing.

I said we use multiplication when editing earlier.

How do you use multiplication?

In an illustration like this,

there are a lot of points that draw our attention

in the middle,

so it's okay to have less concentration on the edges.

As such, at times like this,

I call this expression,

a fade-out.

It's not a fixed term.

So it is...

let's make the edges a bit darker,

like this,

color it dark.

By adjusting the area,

and the color,

make the edges a bit darker.

So you can concentrate more on the center,

which is relatively bright.

Of course, since I wanted to make a bright image,

it shouldn't be too strong.

Adjust the amount,

just so that you can focus better

in the center.

I tried to make it look cute.

Let's move on to the second one with a calm impression.

You can use some of the things

which we used for the cute impression in an opposite way,

for this calm impression.

Let's start.

Save it first.

When you give a calm impression,

it's okay if the amount of light is less.

Because of that, this kind of lighting is pretty useful,

which we went through in the previous lecture.

It's nice to use this kind of lighting.

Since there aren't that many parts where your eyes are gathered,

from the viewer's perspective,

you can observe the drawing more slowly.

These two go really well together.

It's the opposite of the cute image.

When you give me a cute image,

you have to make a strong first impression,

like a refreshing mood.

For this one, it's the opposite.

It's important that

it should be like fine dining food, which you would taste slowly.

So, the overall darkness

has to come in a lot like this.

Even if the amount of light is a bit small.

But, the amount shouldn't be in a 5:5 ratio.

We went through it last time.

If the amount of light and darkness

starts to become equal,

from then on, the illustration won't be calm,

but it will become more intense.

So, I won't apply too much black to it.

If I want to give it a lot of darkness,

reduce the contrast as much as possible.

Make it bright like this.

I'll add a shadow that doesn't matter too much.

So, it's important to control

the amount of the dark sections

so that it doesn't become too much.

If the main elements and the sub elements are closer to each other,

it will have a cuter impression.

I also mentioned that for calm characters, the opposite applies.

So, like this, the main elements and the sub elements

could be placed far apart.

Let's give it some shade.

I'll just control one part.

I'll adjust the distance, too.

I'll create one Layer.

Let's put this hand down.

Let's put it down and get rid of the hand.

Put it down like this.

I'll make the facial expressions more subtle.

The teeth area here...

it could also be the sub-element

of the face, which is the main element.

It's sad, but let's give it up.

But I'm not going to give up on the expression.

When I came up with this illustration before,

as much as I said I wanted to put in sharp teeth,

I'm going to keep this.

But I'll change the way I show it

and close the mouth like this.

Let's change the expression, too.

I'll make it soft

so that the contrast doesn't get too strong.

I hope that the overall feeling of the drawing can be delivered smoothly.

To fit the calm image,

so that even the viewers can feel it,

I'll reduce the overall contrast.

Let's make the highlight

a bit softer than before.

Let's reduce the description here

so that it feels as soft as possible.

I'm not going to describe the highlights.

The highlights that we made before

went in very strongly, remember?

When we did cute characters, right?

This time, on the contrary,

I'm going to draw a picture

with natural highlights.

In the boundary between the lights and the shadows,

this is the perfect part to increase the amount of description.

People's eyes basically follow

the lights and the shadows.

To put it the other way around,

if you work hard on that part,

then it will be a drawing that you worked hard on.

Do your best on the visible areas.

It's like cleaning your living room rather than the whole house.

A first-time visitor will only stay in the living room.

So, just by looking at the living room, they will think the owner cleans well.

They won't even know what happened in the bedrooms.

It's like that.

While drawing the hair,

I'll adjust the eyebrows, too.

Does anyone remember the face chapter?

When we were on the face chapter, we learned that if the eyebrows are high up

and if the facial features are close to each other, it looks cute.

On the other hand, if your eyebrows are close to your eyes,

I said you'd look more mature.

When it comes to calm characters,

they're usually mature characters, not young characters.

So, let's make it look more mature

in the overall impression.

I'm going to cut the hair into smaller pieces.

When we drew a cute character before,

it felt like we just made a lump of hair.

This time, on the contrary,

I'm going to split the hair into small pieces.

It's called Hair Strand.

The more hair strands you make,

the more mature the character looks.

I think you learned it during the previous hair session.

I'll take advantage of it.

Cut it into small pieces,

to make the character

look more mature.

And looking at the overall flow,

if the main gaze goes down from the head

to the body,

due to the hair style,

like these parts,

I feel like the gaze is going outwards.

But when you want to give it a calm image,

it's not a good situation.

In a calm image, it'd be good if the parts that the gaze reaches

are neat.

So that you can follow this side slowly.

These items, which are distracting,

need to be less unique.

What should we do?

Yes, we need to remove the wind.

Let's put it down and make it look calm.

The hair on this side,

getting rid of the existing detail of the hair,

making it calm,

it'd be good if the outfit droops down on the floor as well.

Instead of making it come to the foreground,

I'll make it droop down on the floor.

To make people feel

this character is sitting on the floor.

To do that, you can add some shadow

in the background.

I'll give it a blue color.

I'm going to use blue for the overall lighting.

The point color part,

the parts that have strong colors on this part,

I think it's a section that draws a lot of attention.

So, in this part,

I don't like it when people look at it...

Then how can we adjust it?

Use the color range to choose the part you want.

The capacity is very low.

I'll put it back up.

Choose the section you want.

I'm going to increase the saturation.

Instead of putting it up,

make sure you don't see the parts where there's no light,

I'm going to make it dark.

People get to see the boundary

of the darkness and brightness first,

and after that, the bright places come later.

You see where the light comes from first.

When you go to see a performance,

we can't not spotlight the main character.

You need to give a strong light to the main character.

Naturally, our eyes follow the areas with a lot of light.

Then, like this,

to make sure the gaze doesn't go towards the dark area,

detail it as little as possible.

The parts we have to detail the most

are the parts that are visible.

Try detailing these parts,

and you can erase the whole part

where there's a relatively invisible section of darkness.

You'll feel at ease

because you don't have to depict it.

At least I hope so, but

some students suffer more

when they don't have to depict it.

They may feel like they have to depict it no matter what.

There are some people like that.

I'll tell you more about that

as I go into the descriptive stage, but,

you just have to make sure the detail goes in the right area.

You don't have to put a lot of effort into the whole illustration.

If that was the case, then the people who draw an illustration a day

would be like Superman.

Of course, they are like Superman, but

when it comes to illustration, detail is

not really necessary for all areas.

This is especially the case for casual illustrations.

If you draw realistic illustrations,

detail is more important, obviously.

So, those people have to depict things in detail.

For those who draw casual illustrations,

you don't have to think about it too much.

You don't have to detail every part of the illustration.

You don't have to depict all the creases.

You don't have to do that.

That's all for now.

Let's take a look at the before and after images.

The before,

and the after.

You can see that the character has gotten quite calm.

The mouth went down too much.

Let's raise it a little bit.

Because the mouth is closed

the chin will go up a bit.

Let's fix the chin, too.

I think the chin became longer because of this.

But the overall impression started to get calmer.

I'm going to add some sparkly highlights now.

Unlike the previous example, where I used a ton of highlights,

I'm not going to use a lot of highlights for this drawing.

It's good to give it a sparkly feeling.

Otherwise, the character will look sad.

I didn't want it to be that calm,

so I'm going to add some shiny objects.

But by putting in just a small amount,

it won't feel like it's flashy.

I'll add highlights

so that it looks brilliant.

It's good to use the air perspective at this stage.

Air perspective.

The things that are in the background would be mixed with the color of the air.

So, it becomes the same color as the background.

That's what happens.

It's usually applied to mountains far away.

But it's often placed inside the character.

It's especially like this when it comes to casual characters.

Why are we doing this?

Casual characters have relatively

less information compared to photographs.

There aren't many parts where you can express the three-dimensional effects.

That's why the drawing becomes flat.

In that flat image,

if you apply air perspective,

like this,

objects with air perspective would be

way behind this character.

So, the frontal areas and the back areas would be divided.

You can think of it as if the layers are being created.

The first one doesn't have air perspective applied,

the one in the middle has a bit of air perspective applied,

and the one in the back has a lot of air perspective applied.

So, it's divided into several layers.

And the drawing gives a more three-dimensional impression.

So when you draw casual illustrations,

you would use air perspective often.

So, let's make sure

that the objects that are behind

won't be visible.

Make sure the hat is highlighted even less.

Do the same for the hand in the background.

So, the areas that you see

will become smaller.

Then, you can focus on the visible areas.

Looking at the difference between the previous illustration and the flow of the gaze,

in the previous illustration,

it looked like the eyes go back and forth,

while in this illustration,

they only stay here.

And in this cute illustration,

you'll be able to see the gaze spreading overall.

The gaze of this calm illustration,

had to move calmly,

literally, calmly

and slowly.

So we are building those things into this kind of composition.

And add some details using the Lasso Tool.

And make the dark areas darker.

When we were creating a cute character,

we used some cute items.

In a similar way,

it'd be nice to use items that match the calm character.

There's a limit to what we can use in this situation,

but if I have to choose one of my favorite elements,

I like liquid,

something like water.

So you can make the surface of the floor like this,

or put the character in the water.

The submerged part,

since water blocks the light to a certain extent,

you can't see deep underwater.

But we can see the surface.

Like that, since the water itself blocks the light to a certain extent,

the characters that are submerged can get dark.

It's good to know,

when you study the lighting in more detail,

but it's okay to recognize that the water is dark.

To make it simple,

it works like this.

When light enters the surface of the water,

the light gets refracted.

If we put chopsticks in the water,

you've probably seen that the chopsticks look bent.

Like that, the light gets refracted.

In the process of refraction,

normal light bounces out like this.

And then it bounces out from here.

There's a light that disappears like this, right?

So if it only has 2/3 of it,

then, 1/3 of the light is not in it.

Rather than the light here,

the amount of light that goes in here is less.

Please keep it in mind.

Let's come back.

I'll continue to draw waves.

The theme of the wave itself...

When I give a calm impression,

I think it's a good item.

It also raises the details of the drawing,

and when it comes to water, it's calm

and quiet.

You get that impression, right?

We know about the general impressions

of those images.

When it comes to water, it's calm.

When it comes to fire, it's burning.

80 to 90 percent of us get similar impressions

with these.

If there's an image

that you don't know,

you just have to know it now.

I think it's good to keep directing to match those images,

so that the character can be expressed

in the mood that you want.

So, the biggest purpose of our class is

to draw as we intended to.

You can make that happen.

Water drops will be a small highlight.

The one in the back opened their mouth.

But when you give a calm impression like now,

I think it's okay to keep its mouth closed.

Because it stands out too much.

So the character in the front looks weaker than before.

Therefore, if the character in the back is still there,

I think it's going to eat the one in the front.

So to prevent it, adjust it

little by little.

So I changed it like this, to make the eyes shiny.

Like this, in one impression.

Once, in a cute way,

and once,

in a calm way.

Let's put them side by side.

I put them side by side like this.

My first impression changed a lot.

As I said in the beginning,

you can see that different atmospheres such as cute or calm moods

are strengthened.

When we direct the illustrations like this,

a lot of things are combined into it.

For example, the colors,

the lighting,

the details,

the highlights,

or the small items.

So, with directing, a lot of things can be utilized.

So I'm going to use those

to direct this image

the way we want.

I think that's the most important part of the illustration.

Because of that,

it's best that

you get the same results like the image you first thought of.

If you can't do that, do it like this in the middle process

and think if there are better ways to direct

as you work on it.

I told you this earlier.

You should choose between two items.

If you make extreme choices,

you'll be able to

express the image you want to.

That's the main purpose of our class.

Ask yourself questions while drawing.

You should ask yourself

whether your illustration is headed in the direction you want it to go.

It's something that people don't do often.

So other than the current illustration,

if there's a drawing that you drew before this class,

take a look at it,

and check if it was created the way you intended.

Ask yourself, if something was missing, what was it.

If you think about it, it'll be time well spent.

We said we're going to have some self-feedback time, right?

So, let's get to it.

This one on the right has a calm impression.

But, I think it's disappointing that the overall color is bland.

I only used mint color a lot.

To fill in this area,

it would be nice to add some color near the border.

But if it's too colorful, it'll be cute.

We don't want to do that, so

it will be good to apply blue.

Just this much.

Let's add in some colors.

If I do this, I think the image will be prettier.

With the second one, including the hair color,

it gives the impression that I rushed with the contrast.

So, to make these parts look more natural,

it would be nice to adjust it.

You can brighten the hair a bit,

or change the color a bit.

And for the colors in the background,

I think they could be applied differently.

I'll choose like this.

Since we used a lot of blue for this character,

and because blue and yellow

are opposite colors on the color wheel,

it gives the illustration too much information.

So to avoid that,

I'll apply light green like this.

And you'll get the feeling that your eyes are too distracted.

This is because we increased the amount of information

that could be shown.

Now then,

I'm going to make areas that aren't visible.

How can I do that?

Like I did with the example on the right, I could block the light like this.

Or, let's make an area for the eyes to rest.

You can make areas

that don't have to be seen.

You can go back up there.

Kind of like this.

Drawing is about controlling the gaze.

You need to control the gaze of the viewers

to make sure they see the area you want to show.

It's the most important task.

That's how you put in your intention.

If you feel the light is coming from the right side,

a frontal light,

a light from the front,

and the light hitting from the side...

Between these, I think it'd be the light from the side.

I think it may look a bit calmer.

So I think the light from the front

would be for more of a cute character.

Let's move the direction of the light to the front.

I'm going to make a heart.

Or since it's a bit awkward if there's red all of a sudden,

maybe a blue heart to match the character's color,

or by using this character's appearance,

which is a bit scary,

you can draw something like this.

You can keep adjusting it.

By changing the facial expressions

to fit your image.

This is self-feedback.

While working on this process,

if you put it

in between the processes,

it may take longer to finish.

But you'll be able to draw the illustration exactly as you intended.

So today, using the left one

which we worked with when doing rough coloring,

we made two moods.

In the next class,

we're going to make a different mood like this.

If you followed along while drawing,

try to edit the illustrations

that you drew.

When you first compose the illustration,

if there's a reference you referred to,

and if you want to change the current mood,

get a new reference.

I think it's good to refer to a reference when you work on it.

It's really good.

Having said that,

I'll end today's class.

Thank you for your support.