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Hello.

Today, I'm going to draw a full illustration.

Out of the 8 types of illustrations we did,

there was an illustration that was set in the evening.

I'm going to use this to do a full illustration.

Why did I choose this among all the illustrations?

There are many reasons.

Later, for the Portrait Illustration,

I originally thought of choosing between #3 and #4.

But the working process for portrait illustration

will overlap with the 3rd and 4th images.

So, with full illustration,

I'm going to show you this evening background

because it contains the most information in lighting.

We will describe it according to the background

and I'll tell you what you should pay attention to when you're doing description.

I'll also tell you what I think is important.

So, let's move on.

First, we have to talk about

the lighting of an illustration.

This illustration's lighting is set in the evening.

I used light to describe this.

The character in an orange and dark background

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receives a strong orange light

from the top left.

The area where the light comes in isn't that wide.

Where there's no light,

most of the background is contained.

The character has a lot of subtle vibes.

So, to make the overall mood look more subtle,

the description process will be important.

When you give this kind of lighting,

you're going to use this quite often.

The illustration could be set in the evening,

or it could be set at night.

What's important when you put a lot of darkness in the lighting is

to make sure it doesn't get too bright.

That's the basic thing.

I'm drawing an illustration with a dark background,

so it's important to be careful not to make the whole thing bright.

In a way, it could be obvious.

What's important is,

that you should separate

the frontal light and the light coming from the top left.

This area is not currently affected by

the light coming from the top left.

That means, this area is a shadow.

So you can say that this area is not affected

by the light from the top left.

Then, let's see what kind of light this character is affected by.

Background color.

It's a light coming from various angles.

Among them, the one that looks the brightest to our eyes is

the one that sticks out the most.

From our point of view,

it's okay to understand it as

the light spreading in the front and center.

So, if there's a highlight here,

the left won't be highlighted that much.

Instead, the middle area will be highlighted.

Of course, even if the highlight goes in,

the frontal light itself is weak,

so it needs to be softer

than the light coming from the top left.

I might have mentioned this earlier.

The description is not the key point with illustrations.

It's only an additional factor.

Yes, I still tell that

to my students,

and I still think so, too.

In fact, description skills shows the artist's

unique abilities.

We could say it's important.

But when it comes to coloring,

it's an additional element.

At the lighting stage, the theoretical contents of the illustration

are almost done with.

And adding descriptions from there means

simply adding your charming touch to it.

It's like upgrading the illustration's appeal.

So, there are times when the volume changes

when describing different types of materials.

When you did your best to describe the material and the lighting effects disappeared,

and when you're not sure what to do,

I think it's better to prioritize the feeling of light,

for most people.

Of course, there are illustrations where the lighting is not that important.

Like now, for the illustrations set in an evening background,

the lighting is quite important.

If the illustration is set in a daytime background,

and if you want the character's skin to be shown well,

when you draw something that's focused on the texture,

in that case,

it's more important to describe the texture.

So, the order of importance may change.

I want to explain again

about texture-oriented drawings.

Basically, when you draw a picture, and when you color it,

there are people who focus on the volume,

and there are people who focus on the texture.

For those who think light is more important,

they tend to focus more on drawing accurately.

So, these people tend to

focus on the volume.

Most of the time.

For those who put an emphasis on the texture,

they usually focus more on the Pen Touch,

and unique touches and description of textures.

They focus more on those things

and they show the charm of each texture

the way they like.

So, these people focus on texture a lot.

For those who want simple illustrations, they use the latter method.

For those who want to go for

detailed illustrations,

they tend to use the former method.

So, it's important to set the direction and start working.

I think it's okay.

If your current drawing is

focused more on the overall atmosphere

so that it needs some natural lighting,

at times,

if you're drawing a sexy illustration

your goal may be just showing off the character well.

So, you might not really need the accuracy of lighting in this situation.

In that case, you can focus on the texture.

I think it's good to change it according to the situation.

It's critical.

For the touch-up, I'm going to paint one part.

So, there are bright and dark areas.

You can color the areas in between.

Dab it in.

By repeating this, you can make a gradation.

Press Alt to use the Eyedropper Tool.

I'll use the Eyedropper Tool and apply it over and over again.

The process of making gradation is usually used for coloring.

But if you're not used to touching,

obviously, there will be many small touches left during the gradation process.

The picture will get filthy.

So in order to avoid that,

if you're having a hard time, you can use the Airbrush.

But if you use the Airbrush too much,

the lighting could become awkward

For example, the light could be too white,

so you should avoid that.

The way I recommend it is

using the Lasso Tool

to choose the areas that you're going to paint.

Then, use an airbrush to apply it gently.

I recommend this for beginners.

Don't forget to color the edges.

At the boundary between the light and shadow, the tone in between these areas

should be connected when you see it in black and white.

We're going to apply the density in this illustration.

This character's design is quite simple.

So when it comes to expressing the overall mood of the illustration,

it's an illustration that can be described a lot.

Let's think about the appropriate points to increase the amount of description.

Basically, people's eyes

follow the boundary

between the light and the shadow.

So the fact that there are countless descriptions in this section

in the area where people can see thing clearly,

it means that people can feast their eyes on it.

When that happens,

it will be very attractive for the viewers.

In other words, the areas that you should focus on when describing things

is the boundary between the light and shadow.

To increase the density of this area,

I'll stretch out the hair a lot.

The more you stretch, the more detailed the description becomes.

Even if I didn't describe the shadowy area,

it looks like the quality of the whole picture has increased.

Since shadows receive less light,

what happens with the contrast when the light is weak?

I said it would decrease.

Because the contrast decreased due to less light,

the hair won't be described in detail.

To give it a three-dimensional effect, I don't really describe

the center part of the object.

It's because when describing,

this area looks as if it's hollowed out.

When there is light and shadow,

it looks like it fell back a bit more.

Then on this side that sticks out,

between applying a lot of light and shadow here

and applying a lot of light and shadow at the edge,

I think it's better to apply a lot of light and shadow at the edge.

So, it looks more like it goes backwards.

I'm sure the character would stick out more.

So, for the part that sticks out in the front

I don't really describe it.

For this illustration, we would distribute the density like this.

There's a big shadow in it.

The whole area of the character is inside the shadow.

There's one thing to look out for when there's a shadow.

Shadows usually aren't formed in other shadows.

Before we look into this,

let's go over Cast Shadows and Form Shadows

once more.

Basically, Cast Shadows are shadows between objects.

They are shadows that are formed between objects.

For Form Shadows, because of the shape of the object,

there is a dark area between the object.

That's the Form Shadow.

What you need to be careful about is the Cast Shadow.

Shadows between objects are basically formed in two layers?

But why?

Let's say there's an object that looks like this

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and there's a stick in between

and there's a square board lying on top.

I put some light from the top.

What would the shadow beneath look like?

It will look like this.

If the light above is really strong,

Let's say this area has 100% brightness and that area has 0% brightness.

In other words, the object is not getting any light.

Then even if there's a big stick in between,

because the light it receives is already 0,

the light that this object receives is 0, so there's no shadow.

Then instead of the light from above,

there's a bit of spatial light around it,

so it's a situation where the light is spreading a little.

Let's say the light is a little weak.

If it's very weak,

the light from the top will be around 80,

and this shadow is kind of bright.

If I were to say that the brightness is around 20,

then, the object's shadow could be formed a little.

Because of the light coming from around it,

that's possible, but most of the time,

because of the shadow on top,

it's almost completely covered.

But there are exceptions.

Let's say the shadow that forms look like this

when its brightness is set to 20.

It's blurred.

Let's say it looks like this.

If this stick goes down,

then it will become different.

If this stick goes down,

the bottom part of this stick won't get any light

since it's close.

The other areas are receiving 20,

that's the situation, so the shadow

may be formed in two layers.

It's a very limited situation.

So, if this is not the case,

most of the time, there's a single layer of shadow.

Don't use too many layers.

If there are objects that are extremely close to each other,

or if you can't do it without shadows,

if there's an area like that,

you can think of it as keeping it just for those scenarios.

Because of that, the hair strands are closer to each other.

In that case, you need to add a bit of Cast Shadow.

Let's reduce the contrast.

During the color roughing stage,

I've worked on most of the Cast Shadows.

The next thing I need to do today is

actually apply the Form Shadows.

As I said before, Form Shadows

have a bright middle area and a dark edge area.

In the end, it's about that.

If you maintain that well, Form Shadows

are not that unique.

However, the production changes depending on the texture of the object.

It's a process in which you need to understand the texture.

With hair, we color it in by dividing it.

We're going to divide the dimensions and color it.

For the eyes, let's give

a three-dimensional effect,

so you should understand that in goes inwards,

and so we can dig the inside deep,

you need to understand

how an object like that looks like.

That way, you can draw a Form Shadow correctly.

While you're applying the Form Shadow,

if your drawing changes a lot,

you need to observe the shape of the object accurately.

It's good to practice drawing together.

While working on Form Shadows,

I'm going to use the saturation alternately.

I'll tell you about this, too.

Basically, when you go into the description stage,

you will use low and high saturations alternately.

The brightest highlighted part is...

since it's usually in a color that's close to white, it has low saturation.

I'm sure there's a tertiary color around the highlights.

Since the tertiary color is applied, it's highly saturated.

After that, there's relatively low saturation.

The darker the shade, the higher the saturation.

Again, high saturation.

After the saturation goes up,

there could be some back light.

It's like a Backlight coming from the sky above this eye.

If it's a situation where there's Backlight coming in,

this will reduce the saturation.

So most of the time, the order of coloring will be

low saturation, high saturation, low saturation, and high saturation.

You'd use this over and over again.

If you dig the eyes deeper than the other sections,

the eyes will start to stand out.

Let's balance it so that it doesn't go too far.

It's a method that's often used to depict hair.

There are many people who create it as if

the skin color is reflected in the hair.

So, the hair looks kind of transparent.

It's nothing much, but can you make that part brighter

by scratching the bottom like this.

It'd be better if you mix in the skin colors.

If you do it like this,

the dimensional effect of the hair actually decreases.

Objects are basically dark at the bottom.

It needs to be dark down here.

So I'm coloring that section brightly.

It's a choice that reduces the dimensional effect.

You might question whether it's good or not.

Actually, the dimensional effect of the casual character

is not that necessary.

In a bad way, that's what happens

if it's less dimensional.

If you make it nicely, it means that the illustration becomes transparent.

If you want to draw a transparent picture, it means that you need to be able to

intentionally break the three-dimensional effect.

Because of that, if you like detailed coloring,

or if you like strong and accurate coloring,

it's effective to make the bottom of your hair darker.

If you like transparent coloring,

it looks sentimental and transparent.

So,

if you like transparent coloring,

you can compare it to oil painting and watercolor painting.

If you like watercolor paintings,

you can make the bottom part of the hair brighter

to break the three-dimensional effects.

You can add a transparent look to the entire painting.

I'm going to describe the inside of its mouth, too.

I'll add the shadow that forms because of the teeth.

I'm going to add in shadows that form because of the head.

Like this, you can focus on

the Cast Shadow and Form Shadow.

If you describe it,

the quality of your illustration will go up.

Let's say we've done it up to here.

Under the premise that we've done more than this

to improve the quality of the drawing,

there's something more we can do.

It's called the Occlusion Shadow.

Occlusion Shadow is

when the distance between objects is close to zero,

we call them dark shadows, or closed shadows.

The hair and skin are almost stuck together.

In this situation, in between,

it's really hard for the light to come in.

The color itself becomes close to a black color.

Whether we have two white objects stuck together,

or whether we have two black objects stuck together,

there's no light between the objects,

so it's always black.

So, if you add shadow to that part,

the quality of the illustration definitely goes up.

Occlusion Shadow,

or Ambient Occlusion,

it's a term that's used often in 3D games.

The reason why it's used a lot in 3D games is

one of the options to make the graphics look better is

by using Ambient Occlusion.

So there's a huge difference in quality

depending on whether Ambient Occlusion is included or not.

It's the same thing with illustrations.

If you use Ambient Occlusions,

the overall visual quality will go up.

It's good to see this part clearly,

so it'd be nice if you could describe it a little bit.

So, if you include the Ambient Occlusion as well,

the visual quality of the picture goes up a lot.

So it feels more like it's being wrapped up.

Because of that, if you added light and shadow during the coloring process,

if you don't think your illustration is perfect,

pay attention to Ambient Occlusion,

and apply it.

If you apply this,

the quality of your illustration might suddenly go up a lot.

So, let's summarize.

Let's talk about what we covered today.

What was the first thing you did?

The first thing I did was to distribute the density of the description.

When you're distributing density to the section where the attention is focused,

describe it a lot and balance it out.

I also talked about how to touch up your illustrations.

I talked about how to make them transparent, too.

I also told you how to distinguish

between Cast Shadow and Form Shadow.

And I also explained an example

with two layers of Cast Shadow.

This case is very special.

In most cases, Cast Shadows don't form in two layers.

Please remember this.

And I told you how to use Occlusion Shadow

to improve the quality of your drawing.

I also told you how to alternate

between low saturations and high saturations.

Let's continue to recognize them.

Even in places like this,

don't forget to apply Cast Shadow one by one.

I told you it's easy to forget

Cast Shadows while working on your illustrations.

Let's be careful not to forget and take care with each of them.

I often paint the edges of my eyes red.

I think that looks prettier.

This is a little personal.

Make it different depending on your preferences.

When you are coloring,

and if you want to improve the quality,

there's another way to use it.

It's coloring the lines.

In the end, lines are all black.

This is also something very important.

Lines are made up of colors too.

So, the thicker the line,

the colors naturally darken in that section.

Because of that, if it's a character

that's mainly white,

it's good to make the lines

be painted bright or thin.

The thinner the line,

the less attention you have to pay for the line color.

For those of you who think your lines are thick,

there are a lot of times when the color is applied to this line.

Then, that would look prettier.

So, depending on the color of the light,

if you apply red and orange colors

into this area,

you'll be able to add more three-dimensional effects.

The property of the current line Layer is supposed to be Multiply.

The reason why I set it like that

is to ensure smooth connection

with the lower layer.

If this is set to Normal,

the orange part will start to stand out.

If you apply Multiply, you can see through the bottom touch-up

and it blends in a bit better.

I express it a lot by applying Multiply to the line Layer.

Let's continue with the description.

Today's goal is to draw it up to this shoulder

within an hour.

I can't show you all the descriptions.

Today's content on description

is more focused on the contents.

When I work on portrait illustrations later,

I'm going to show you how I describe them.

At that time, I will work on it

as I dub in the process video.

I'll upload the video then.

So while watching the process of myself working on it,

I think it would be good to observe a bit more

how the description goes.

The one-hour description that I'm doing right now

is in the same order I usually work.

In the end, I kept repeating them from top to bottom

while coloring.

There's nothing special about coloring.

In the end, coloring is not so much about

doing challenging coloring with intent,

but being more natural at it

as you go through the process of coloring.

If haven't formed your own personality,

there are people who value individuality when it comes to coloring.

But don't worry too much.

Most people don't make their own personalities based on their own intentions.

If you just draw, you will eventually find it.

It's hard to find someone who doesn't have a personality.

Most of them have their own individuality.

It's just that if it's not fully reinforced, people can't always see it.

So, if the drawing lacks individuality,

and if you're concerned about that,

you will be under a lot of stress.

But, I think you don't have to be stressed out that much.

It's simply because it's less skillfully refined.

If you work hard,

as it gets more refined,

it'll gradually become your own personality.

In the end, individuality is based on the points that you like.

The things you like

later form your individuality.

So, if you don't know what personality is,

if you're one of those people,

it's good to think about what you like.

It's important to have clear preferences

when you continue working.

I think that's the key point.

It's super important.

When you're studying illustration,

it's important to establish your preferences.

I think this is a must-do process.

Even if we are playing a game,

there would be character preferences.

You might like aggressive characters or defensive characters.

You might like supporters or leaders.

You will have such preferences.

It's like that when you're playing games.

And it's the same for drawing.

There's bound to be a character that you prefer.

Your preferred character's characteristics

are usually ones that you're good at.

So, your preferences are

a factor that indirectly show your strengths and weaknesses.

So, let's clarify our preferences and show our strengths and weaknesses.

I'm telling you that it's important to find them out.

I'll add some highlights to the teeth.

I'll put in some shiny material.

I'll keep checking the black and white in between

to see if there are any differences in the overall tone.

I'll observe if there's anything that stands out.

Let's also describe the cracks on the hat.

The shadow is now

far apart from the hair.

We're going to go into detail

about Cast Shadows.

The farther away the Cast Shadow gets,

the more the shadows will grow and spread.

So let's say the object up there is on this street.

If there's a shadow underneath,

the further the distance is, the lighter the shadow is.

It also spreads widely.

Of course, the edges are a bit messy, too.

This is how shadows form.

So right now,

with the hair on this side, which is quite far away from this hair,

the shadow will widen to a certain extent.

At that time, I'll use the tertiary colors

and I'm going to spread them.

If I show that the shadow is spreading,

I can make it look pretty.

There was a metal material for this one.

We're going to talk about the characteristics of each material.

The top part of the hair has huge contrast.

So let's add some highlights.

I drew the teeth in.

When it comes to contrast,

literally,

if this character shines, the contrast is strong.

If this character is a bit soft,

you can think of it having a weak contrast.

But that's not what's important.

You have to decide on your own

to see which one has the biggest contrast.

Which has stronger contrast, the hair or the teeth?

And I'll organize them based on the order of which is stronger in

the contrast between the teeth and the metal.

The reason why I organize that is because when it comes to directing,

or when it comes to the base colors, it provides some differences.

With the base colors of the material with a large contrast and a light contrast,

the material with a large contrast is dark.

So metal has a high contrast, and fabric has a low contrast.

So even if I put white metal in here,

I'll put in gray this much.

When we add highlights,

if you put it in like this, it looks like white metal.

So, the material with big contrast is

the part that doesn't get light

since it clearly becomes dark.

When you apply the base tone,

it's important to make it darker.

There's a dark gray area here.

I can add white to it here.

Let's make it strong in the areas where the light comes in.

It's important to give a clear contrast with the other sections.

That way, with the highlighted areas,

you'll feel like it's metal.

Since this side is close to the shadow, I'll color it in darker.

Things like hair descriptions

should be focused on the edges as much as possible.

Let's focus on the dark areas.

That's how this will act as the Form Shadow.

Don't forget to add Cast Shadow to the inside of the hair.

If you take care with Occlusion Shadow,

the quality of the illustration keeps going up.

I'm going to clean up the description like this.

Let's come back to density distribution.

We're going to focus on the density distribution.

If you look here, in the upper section,

you'll see that the description is focused quite a lot.

That means

there's a lot of description in the part where the attention is focused.

Then to put it the other way around,

how would you go in when you go into the description?

The parts that need less description

these sections are effective if you use the lighting together.

The light that's coming in right now

is coming from the top left of the character.

Which means it's coming from the back of its face.

From the perspective of the body, the light...

From the perspective of the body that's under the face,

it's not that different from the light from above.

So when you depict the belts underneath,

think of the light coming from above.

You need to make the top part shine.

I'm going to paint the side that I'm looking up to make it bright.

And then,

what should I do with the front side that doesn't get any light?

I'm not going to describe it.

I'm really not going to.

Yes, it's okay to do that.

We already focused on

the facial area, which we wanted to show.

So, it's best not to describe the rest of the sections.

This is one of the most important parts of description.

It's the most important point when it comes to the concept of description.

Usually,

students work on a piece by describing it a lot.

If you describe it more, the quality will go up.

That's not wrong.

If you describe it a lot,

of course, the quality can be improved.

But distribution is a little more important.

Rather than adding a lot of description,

it's much more effective to distribute the description well.

There needs to be a difference

for the parts that have a lot of description.

For example, if you describe 10 in this section,

and if you describe 5 in this section,

and if you describe 6 in this section,

this section will be described as 1.

There's a slight difference in quality between the two,

but when it comes to the final result,

if you ask which one is better, I think both are good.

It's because it's well distributed.

In the worst scenario,

you might try your best to describe it

and describe things here and there.

7, 6, 5, 4, 7... Like this.

The descriptions are all distributed.

There's probably a limit

when you're describing.

There's a limit to the quality that you can raise it.

Let's save the upper limit and use it.

I'll just keep it.

I'm going to focus on the parts that I need.

If you worked really hard on it,

for the rest of the areas, don't worry about it and don't describe them.

For your information, it's harder to not do it.

In the process of doing the description,

there are a lot of people who can't stand it and will just describe it.

Or because you were mesmerized,

you discovered you could do more than you thought.

I'm sure there are many people who are like this.

Well, we'll just have to do it and erase it.

If you think there's too much to describe,

It's better to make up your mind and erase it.

The more the description is left out,

the more character's face should be described in detail.

The description is only relative.

The section that you designated as the main element.

If there's a lot of descriptions of important parts,

or if you describe them less,

you can describe other places less.

And do less for other places.

It's important to make differentiate them.

In a way, when it comes to description,

that's what I wanted to tell you the most.

Cast Shadows and Form Shadows

are theoretical.

What I'm telling you now is not a theory,

but it's more of a sixth sense for

how to create a pretty picture.

Pictures with a lot of descriptions can be pretty, too.

Paintings that don't have descriptions can be pretty, too.

When we see animated films, we think they're pretty.

Why are those pictures so pretty?

There are sections that need to be focused on.

The character's eyes are always filled with sparkles.

If you look at pretty characters in animation,

they're always very detailed in description,

and there are times when there are sparkles in the character's eyes.

That's the same.

There's not much description of the other sections.

I'm going to draw in the eye area.

To make the eyes stand out from the perspective of the viewers,

making the eyes stand out means the character will look pretty.

When I talked about the face description,

when the description is focused

and if the facial area can be more focused,

we can look at the animation

and feel that it is pretty.

That's why there are people who are describing it here and there

to try to improve the quality.

But please stop that.

You have to draw the parts that have been highlighted.

Make sure you do it well.

Please don't describe the other areas in detail.

When it comes to making a prettier illustration,

I emphasize that it's a necessary process for this part.

It's very important.

What we need to do now is

know the limits of description

and when you're describing things clearly,

know how far you should go.

Figure that out.

You need

the ability to adjust it based on the circumstances.

And it'd be nice to raise your limits a bit.

Especially for those who want to do concept art,

and if you want to do in-game illustrations,

there's an advantage if the quality of the picture is high.

You should keep in mind

how to raise the quality.

Raise your limits.

If you try your best,

it could make a big difference.

Rather than the difference between 5 and 1,

there's a bigger difference between 10 and 1.

So the process of increasing the amount to 10

is the process of raising the quality of your description.

To practice it effectively,

copying would be the best.

Spend a lot of time copying.

I think it would be the best idea to do that.

When it comes to distributing the description, you have to be aware of it.

This isn't really part of the practice, but it's a sensual part.

You should definitely focus on it,

and it's important to think about the description here.

Let's compare what we've done.

Before, and after.

Certainly,

you can see that the face sticks out more.

I'm going to dig deep in the back

and I won't describe the parts that stick out.

While repeating this process,

it's adding three-dimensional effects to the painting.

I want to highlight

the face section and the upper chest section.

I'm going to describe this section clearly.

I'm not going to put creases on the bottom either.

Even if you put them in, put just a little bit in.

Only around one or two.

I think it'll be okay if there's some creases in the lower section.

You can balance between strong, weak, and medium.

This is kind of like a tempo adjustment.

It's the tempo that you use to divide the weight of your drawing.

Let me give you a tip.

It's good to use it alternately.

What I'm saying is,

if you do it in the order of strong, medium, and weak,

this can also feel too regular.

So the illustration will get boring.

So when you distribute the density...

Strong, weak, medium.

If you mix strong and medium,

you can make the drawing look more witty.

The drawing will look more fun.

It's good to use it when distributing density.

Here, too. As we did before,

I'll strengthen the parts that stick out.

That's it. I'm not going to describe it any more.

I really don't describe it after doing this.

You don't need to describe as much as you think.

So if you know where to describe things exactly,

the amount of time you need for description

will be reduced.

When your process has been optimized,

drawing one illustration a day

won't be that hard.

That's how your speed will go up.

It's about deleting unnecessary processes in the end.

Since I want to add gradation on this side,

if you're not confident with touching up,

use the airbrush to paint the bottom.

If you connect it gently, it becomes easier to describe.

You'll be able to see that I'm describing it

by changing the hues.

It's good that the color doesn't become awkward when you spin it.

Rather than not spinning it.

But it's not like there's no rule to spin this around.

The farther away from the color of the light, the darker the color of the natural brightness.

We can change it.

The natural brightness is

the natural brightness of each color.

If you apply yellow on the same spot, it's this much.

If you paint the same color with blue, it comes out like this.

It doesn't look that different.

If you look at it in black and white, there's a huge difference.

With the difference in brightness,

you can think of it as the intrinsic brightness of each color.

The Eyedropper has the same colors picked, but the brightness is quite different.

So, if the bright part is yellow,

whenever it gets dark, I mix the red colors.

You can think of it as a progression.

I'll tell you this one more time

when you draw the portrait illustration later.

It's because the concept of changing colors is

important here.

It's close to a sensual feeling.

If you do something wrong, you might forget.

So you'll need a little reminder from time to time.

If you don't change the color,

and continue drawing,

the illustration will get a bit murky and it's hard to build up a good contrast.

So, you'll end up giving strong contrast.

If you give it a strong contrast, the picture will look like it's burnt.

That happens a lot.

Especially, when you make shadows like this,

the bright part has an orangey color.

If the dark part feels blue,

that alone makes the difference between the two quite big.

There's a difference in color.

So when you look at it in black and white, and even if there's no big difference in the brightness,

you can definitely tell that there's a shadow there.

If we go with the same color,

it's hard to make a difference.

So you would automatically lower this shadow tone

while hoping there would be a big difference.

And in the process, the picture gets burned out.

Then, there will be more contrast.

The illustration will get too dark.

To prevent that,

I think it's good to keep changing colors.

Take care of that.

Before,

and after.

The quality keeps getting better.

You'll be able to see what's going on.

Like this, with the illustration,

we're approaching the completion stage.

Once it's been made,

it's good to check it once in the middle.

Let's see if it's going well.

It's going well as I intended.

It's similar to the first one.

It's good to keep looking at it by turning it off and on.

One of the things that happens a lot when you draw is,

if you were so focused on one part,

you'll forget to describe the other sections.

You have to be careful not to do that.

I'll highlight each eye.

Let's continue to put in Occlusion Shadow to improve the quality.

This Occlusion Shadow,

it acts like a line.

As there's a clear distance between objects,

when this goes in,

these are obviously different things.

It serves as a boundary line.

Thanks to that, the clarity of the painting increases considerably.

It's actually the most important thing in casual illustrations.

Out of people who are emphasizing that,

some people always emphasize visibility.

Casual illustration is like fast food.

Compared to the realistically drawn illustrations, when you look at it at a glance,

it's important that its charm stands out.

That's what some people say.

Visibility is important.

The things that I want to show,

it's important to see them at a glance.

So, this Occlusion Shadow,

it's a way to increase visibility

so it would be a pretty good fit.

If you use it well, the picture will get clearer.

It makes a strong first impression.

It's easier to see from afar.

But this is very important.

It's because when we're working, right now

we zoom in on this and work on it.

But the people who actually see this painting

will see it in this size.

For those who are looking at it on their phone,

they might see it in this size.

And these people, when they look at a painting,

they won't look at mine for more than 3 seconds.

If you look at an illustration, you look at it for a second and 'like' it,

or just pass by. That's how it is in the end.

So in a way, the success or failure of this painting...

It's safe to say that it's determined in the first second.

So when it comes to my first impression,

the Occlusion Shadow that makes the drawing clearer,

it plays a very important role.

So when you describe a picture, you have to be very detailed.

There are people who say this.

To put it plainly,

you don't have to be as detailed as you might think.

If you think it's okay in 100%.

It's okay to just continue on.

The description needs to be neat.

There can't be anything that's sticking out.

It's not like that.

It's the same when you use it in person.

The images that you thought were in higher quality,

if you download them as a PSD file,

there may be a lot of errors if you look at it closely.

As we did before, there are parts where we take a break.

It's used a lot in real life illustrations.

But when you look at it from afar,

so that you can't see those parts from your first impression,

it's just that they're well-placed.

You don't have to insist

on the quality of the description itself.

So, I hope that's why...

Let's say you're scared of doing description.

There are probably people who can't color it well.

Don't be too scared.

There's no need to be so detailed.

If you're not confident with touching up,

you can use a Lasso Tool.

I'm not confident in taking pictures of colors.

But you can use references.

There's a way out,

in theory.

If you can analyze the data and use it well,

you can draw anything.

Even if you don't draw, if you're good at analyzing the data,

even the first drawing can come out looking pretty.

I think it's possible if we give you

enough time.

Are you bringing out the picture as you intended?

You need to keep that in mind.

As long as you're good at it, that's all.

Whether it's my first drawing, the 100th, or the 1000th time,

making a pretty picture...

I think the result will be similar.

Of course, the time you spend in between

and the naturalness of the touch that was applied,

that's where your skills come out.

The viewers will see your skills too.

Of course, those things are important, too.

But you might think you must be bad at drawing

because you haven't drawn for a long time.

It's not for people who think like this.

Even if you didn't draw a lot,

you can analyze the references clearly.

If you can utilize that,

you will be able to draw well quickly.

I told you in the beginning...

Illustration is, after all, is about conceptualizing and actually drawing.

Since we're in the stages of conceptualizing and actually drawing,

the process of thoroughly planning like we did before,

when you created a cute atmosphere,

I told you how to do that.

The process of directing those things...

All of these things have a concept.

The output is simply the process of pulling it out by hand.

We can't help that.

You can only get used to it by drawing a lot.

But for the conceptual stage,

in the conceptual and output phases,

I said the idea was the most important thing.

If you've mastered those stages,

it's possible to draw.

Though it might not be easy to draw like how you want it to be.

After that, you want to make the picture look pretty,

and strengthen it.

If you have studied humanities in college...

I'm going to draw...

If you're scared because you haven't done it a lot,

Don't be too scared by the conceptual steps.

You just have to make it more clear.

What others will think about 3 times and move on.

During that process, about 15 times.

You just have to think about it before you go in.

It's a bit stupid, but

sometimes stupid methods work best.

If you don't like drawing,

what do you do when you draw the human body?

When you draw the human body, you look at yourself in a mirror and take pictures.

You might take a pose.

Isn't it a stupid way?

But there's no other way to connect things as well as that.

We actually use that method a lot

Drawing is kind of...

There are times when stupid methods are the best.

Now that we're done with it,

if the drawing is complete,

we should edit it.

Let's talk about this editing briefly.

When I edit this later,

how does it go in?

Let's take a look.

There are effects that are used a lot in illustrations.

I usually use shiny textures

or Lens Flare.

Let's use them.

I usually use Google.

If you search for glitter textures on Google,

There are a lot of good materials that come up.

Among them, I use a lot of pictures of the night sky.

Let's say that I take these pictures of outer space.

If I take all the pictures of outer space,

I'll put this on top and apply the Screen effect.

I'm going to apply only the bright parts of the Screen Layer.

It's a concept that gives light.

The light in the purple part of the background,

comes in like this.

But if you look at it like this, there's a square border.

This dark part isn't the black that I used to have.

People perceive it as a really bright color.

That's what happens.

If it bothers you, you can adjust the Levels

to make a big difference between the bright and dark parts.

Especially, if you lower the dark part,

the edges on this side disappear quickly.

Then only these glitters are left.

You can change the color of this character as you want,

and adjust the size,

change the location,

and by changing the size using Ctrl+T,

you can adjust it until it feels like you want it.

I usually use this procedure,

and use a lot of glitter.

It's pretty after you put it in.

By changing the colors,

the glitter texture is literally

point elements.

It's a very helpful element when you want to raise the quality of your drawing.

Of course, if you abuse it too much,

it kind of feels like pepper on the illustration.

So it won't be good.

It's important to use the right amount.

If you've added some glitters like this,

after that, I'm going to use the Lens Flare.

The name of Lens Flare comes from

when we film the sunlight with our camera,

the light spreads through the lens,

and that's what they call a lens flare.

There are many types of lens flares.

Today, I'm going to use the horizontally long ones.

They're like this.

It's an expression that's commonly used in in-game illustrations.

I'll put this up like this.

The sunlight is coming in from the back,

so let's put it in this section.

It's too bright.

So I'll control the contrast.

Adjust the brightness.

And since the light from the back is yellow,

it'd be good if this one turns yellow, too.

Or maybe reddish.

According to the feeling you want,

by controlling the intensity,

you can use it while adjusting the angle.

Besides lens flares,

it'd be good to use the round lens flares

and things like that, too.

Through the color adjustment,

you may change it to an orange color,

or using contrast adjustment,

balance it out.

If you do this, you can create a pretty bright sunset.

Create another layer here.

The layer I'm going to use this time is an overlay layer.

Using the orange light on the bottom left side of the light,

I'm going to give it a light that spreads out.

It's called scattering light.

If you adjust the scattering light like this,

you can make it feel like the light is spreading out more strongly.

You can express reflective light,

coming up from the bottom.

If it's edited like this,

When you see the before and after,

the illustration definitely would

become more flashy.

I'll tell you one thing that I use often.

For those who use Photoshop,

it's easier to follow.

After everything is done,

merge the layers that we can see.

And paste it on the top.

If you press the FX button on the bottom right,

there's Blending Options.

If you go into this Blending Options tab,

a window pops up and there's RGB.

Please turn off one of them.

You can turn it off depending on the color of the illustration.

After you turn it off, if you turn it around,

it's like the color is breaking.

I call this a digital effect.

The color changes depending on which RGB you turn off.

So you can adjust the result to the one you like.

Because of the color breaking,

there's a bit of a density in the illustration.

As density is added,

the particles in the illustration get smaller.

The smaller the particles, the higher the quality of the illustration.

So, you can make the particles smaller

so that the quality of the illustration can be enhanced.

It's one of the elements that allow you to do that.

To put it simply,

if you do this, it looks like there's a lot of color in it.

It looks like there are various colors in it.

So the quality of the drawing

looks higher.

Noise effects are used a lot, similarly.

Here's [Filter] [Noise].

There are [add noise/ decrease noise], things like this.

For example, if you add noise,

and if you don't zoom in, you won't be able to see it.

If you zoom in here,

the illustration breaks like this.

What's good about these cracks?

Since casual characters are simple to describe,

the particles are

kind of big.

So, as it went in, it felt like the particles got smaller.

Thus, the quality of the illustration

looks better.

In the past, when I was drawing,

I drew in a big size and reduced the size.

I often did it to break the illustration on purpose.

That's similar to this.

If you break the illustration, it'll break into pixels.

So the character looks

a bit more high-quality.

So, using these parts,

if you edit the picture, the picture becomes very fancy.

Before and after.

What we did today is how to make it more descriptive.

And when we were doing the description,

we went through the things

that we have to consider.

You have to think about density distribution when you're doing the description.

And the contrast,

depending on the lighting, you need to think about the contrast,

and the density distribution,

changing the color,

you have to consider a lot of things.

Other than that, there are highlights,

and how to describe with materials.

And after that, through the editing process,

you can improve the quality of the drawing.

Then you'll be able to finish up your illustration.

If you look at the before and after,

this one is before,

and this is what we edited today.

By checking these details,

I hope we can finish it well.

I'll finish this drawing later,

I'll make a note of it somewhere.

That's all for today.

Thank you for your attention.