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Hello.

Today is our last lecture.

We'll review what we've done so far.

I'm going to summarize a few things.

And while you study,

I'm going to say

what I couldn't before

or things that I want to tell you from now on.

Thank you for following through with this long course.

I really appreciate it.

I'm sure some of you

took my class while drawing.

Some others

may have just watched the videos.

For those of you who followed along with me,

in this lecture, look at what you drew so far

and see if you missed anything.

I hope you can take a look.

For those who just watched the videos,

use what I've told you so far

and draw full illustrations and portrait illustration

as you make reference to

photo materials.

Let's summarize what we've done so far

and let's take this time to wrap things up.

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We learned

what an illustration is all about.

In the end, an illustration

is all about composing the square canvas

or the overall silhouette of the character.

But, in the end, it's not just about making up a character.

It's about composing the viewer's gaze

and inducing it.

We also learned that expressing the key elements are important.

That's what illustrations are about.

So, when we draw characters,

characters are just the subject matter.

Illustration is all about 'cooking' a tasty dish with the character.

In a way, the process of cooking

is just like the process of

of drawing illustrations.

To do that, in Section 2,

I taught you about the basics.

Well, it's embarrassing to say that

because I didn't teach you a lot.

I think that part could be a little disappointing.

But with the basics,

of course, it would be good if I taught all of them to you.

But, there's a lot of information on the internet.

So, check out the muscles of the human body there

and build up your basics.

That's why you need to learn from other sources.

Eventually, this process will take a lot of time.

But you need to spend a lot of time on it.

Compared to other processes,

normally, if you go to an art school and learn something,

when it comes to coloring,

you will eventually get better.

I think in this case, one month would be the basic unit of time.

I'd say if you learn coloring for 7 to 8 months,

you can certainly improve.

In case of the whole illustration process,

the time unit would be one year.

If you want to draw well to a certain extent,

it takes 3 to 4 years.

So, it takes a lot of time to

be better at drawing.

When it comes to training,

that's why you can't understand this right away.

Does that mean you should come back in 3-4 years?

It's not like that.

We learned how to simplify when we were learning the basics.

And with a simplified body,

I told you

that you can draw characters.

So, we're going to use simplified human bodies

and draw a simple human body.

Let's practice how to draw just like you want to.

Let's get to it.

So, what did we learn?

The human body is divided into basic movements, proportions, and outlines.

Out of movement, proportions, and outlines,

movement is the most important.

The second most important is the proportions.

The third would be the outlines.

Out of movement, proportions, and lines,

the first thing you should learn is

the proportions.

You should know the proportions

for your deformed, or modified characters.

Now, with that in mind,

make a mannequin in your head.

Make a base mannequin that's the basis of your ideal human body.

Using that, give it many movements

and various angles.

You have to train how to move

and spin your imaginary body.

After doing that,

from the human body that you drew,

it's good if you study more about the outlines

to express

more attractive things.

Whether it's the fat or the muscles,

or the creases of clothes or the hair,

study how to draw outlines additionally,

so that from the basic body type that you drew,

you'll make a more attractive basic version.

That's how you will practice.

This is the basic framework of the human body.

For your information, the proportions, movements, and lines

that I mentioned,

they could be applied to characters,

and animals as well.

Most of them are included.

Even when you're drawing a dog or a cat,

you have to make sure the movements are correct.

You should make sure the proportions are correct first.

Then, you would make sure the outlines are correct.

So in terms of their importance,

it will be the same for characters and animals.

So please remember these things.

So, now that you can

draw a character to some extent,

now you're going to practice how to actually draw.

This is what was included in Section 3.

Before we actually draw professionally,

it's good to know what you want to do.

When you actually draw professionally,

if you want to be hired

and make money with your illustrations,

you'd either draw concept art, or do character illustrations.

You might also draw full illustrations,

or simply draw fan art and make money that way.

There are many different ways.

Depending on what you want to do, you need to know different things.

In the case of concept art and character illustrations,

you need design skills.

And for illustrations,

you need composition skills.

The same goes for fan art, too.

As for fan art,

it focuses more on

expressing the character's charm.

But, you won't have to do much design work.

So, everyone needs different things.

That's why you need to keep that in mind,

and it's good to be able to decide what you need quickly.

If you can't decide, just get on with it.

It's okay to draw first and decide later.

But, it's important to decide your path as quickly as possible.

Just decide your own path first,

no matter how you do it.

Why is it important to decide that?

So that you can make sure of where you're going.

You can change it later

if you wish.

While you were practicing concept art,

you might suddenly want to do illustrations.

If you can't stand it, you change your goals.

Your skills will improve no matter what,

as long as you're drawing.

It's just that your artistic path won't be a straight road.

Your skills will improve continuously anyway.

I compared it to raising your bar before, right?

It's like raising your bar of skills.

Your skills will be formed one way or another.

So, you'll have some chances.

First of all, decide what you're doing right now.

That will help you speed up the process.

Just keep that in mind and continue.

We learned the basics.

And after that,

we learned about the gaze and the silhouette.

It's also the most important part of illustration.

I also taught you about lighting.

In the end, this is all about

making the viewers see

the main elements first,

and then the sub elements,

and then the extra elements.

We learned how the viewer's gaze will flow

and how we will compose the canvas.

Dot, line, and plane.

A triangular silhouette,

a diamond silhouette,

an 8-shaped silhouette.

In the case of lighting,

we need to focus on where the light would come in.

We could either give a Spotlight,

or apply Hard Light or Soft Light.

There're many things you could do.

Or you can use complementary colors

or similar colors

and use all of that

to compose the gaze.

You should think about

whether you could draw people's attention to where you wanted

and contain all the important parts there.

In other words, did you express what you wanted to?

Think about this every time

when you compose an illustration.

Usually, people who draw for the first time,

in other words, people who are self-taught

without learning from anyone,

for those people,

they would have just drawn without thinking.

Rather than thinking about the gaze,

they would have copied other drawings

or photo references.

They might have just started with a character that's standing up.

Maybe that's how you started drawing.

Of course, that's helpful.

It's helpful from the perspective of drawing characters,

but it doesn't help much when you're composing.

So if you continue to draw like that,

your skills will improve, but,

what happens is,

it's hard to get the illustration that you want.

You can still draw characters to a certain extent

if you take your time.

But since you would always draw the same thing,

it's hard to draw various things.

And when you want to give your drawing a different vibe,

it might not have the feeling that you want.

Or you might not know how to approach it.

It might look okay at the roughing -n stage, but it might look terrible once it's completed.

These kinds of problems will happen.

So in the end, to solve all these problems,

eventually, you need to know about the gaze.

How do you show the areas you want?

How will you express it?

But if you don't know

how to do it well,

including this area,

and the human body area as well,

in all...

There was something that I emphasized in Section 1.

To be honest, I wanted to say this again at the end.

It's how to use materials, or references.

References help you

create the information in your head

without actually experiencing it.

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So these references

would be adding something to your head.

The gaze, the silhouettes, and the lighting that are used in the actual drawing stage

is all about the process of printing out what's in your head.

It's the process of printing things out

from your head.

You have to update the data in your head

so that there's going to be a lot to print out.

You need to have a lot of data in your head.

So that a lot will come out when you print it out.

Then, to increase the capacity of your head,

you need to rely on references.

And of course, the curriculum you've seen so far

would be included

in this 'data'.

Including such things,

you get the information you see from these sources.

In the process of collecting this information,

I told you that you must go through the analyzing process.

When you look at references,

you shouldn't just say it's 'pretty'.

Why is it so pretty?

How does the gaze of people flow?

What would happen if you flip your drawing vertically?

How would it look from a different perspective?

How would other colors look in the illustration?

Edit things by yourself,

and see what happens if you draw with your own style.

Try to copy and draw,

and please use that as a reference somehow.

So, put additional information into your head,

and when your head is 'updated',

if you do the actual work,

I'm sure that your results can be readily used in the field.

You'll be able to produce high-quality work.

At that point,

it's all about gaining more experience

and it's about increasing your perfection.

I talked about the difference between quality and perfection.

Quality is the perfection of the composition itself.

On the other hand, perfection is about

how clean the final result is,

to the point that you can use it in the field.

It's about whether it comes out clean and in high quality.

When it comes to things like this,

the most important thing is the front area.

In other words, in terms of the composition of the illustration,

it's important to have a full composition.

So, you should

focus on those areas.

After doing that,

we looked at a full illustration and a portrait illustration.

We looked at two examples.

Usually, the thing that applies here

is that character illustration and concept art

is closer to portrait illustration.

For full illustration and fan art,

it would literally be full illustrations.

That's why you're going to practice like that.

When you make a full illustration,

You should practice more from what you did above.

When you practice,

and when it comes to lighting,

or when it comes to the concept of coloring,

I hope you invest more time.

Because you'll have more freedom of expression,

compared to portrait illustration,

I hope you can use a variety of colors.

If I were to add one more thing,

I guess it would be composing the canvas.

The reason why composing the canvas is more important

is because it's like free-styling.

The character could be lying down

or it could be upside-down.

When we cut the canvas in half,

the left and right canvases could look different.

The characters could change,

and the skirt of the character that's lying down

could be in different colors.

Or you could direct it differently.

You could see the background inside the character's outfit,

or see a different background through the character's eyes.

Like that,

there are various ways of directing when you're illustrating.

I don't think I even showed you 7% of how you could direct things in this class.

That's how free illustrations can be.

As such, analyze other illustrations

and see what other types of direction are possible.

You should continue expanding your experiences

after this.

So, I think it's a good idea to study more.

When you draw a full illustration,

focus on coloring

to train yourself.

If you want to make money with full illustrations,

or if you wish to gain recognition with your fan art,

I'm sure you'll see how it affects your skills.

Especially recently,

there are so many illustrators.

That also means you have a lot of rivals.

There is so much competition,

and there are a lot of people who are really good at drawing.

There are already a lot of people like that.

But now, drawing is even more accessible.

There are so many social media services these days.

There's Twitter, Pixiv, and

dozens of other sites where pictures come up.

In such places,

there are more ways that you can earn money from your own work.

In the past, if you were to make money by drawing,

you would earn money with game illustrations.

Or you would just create fan art

and sell it to other fans.

The only way to earn money

was to sell fanzines in the past.

But recently, you can upload your works on Patreon.

It's a site where you could be sponsored based on your art.

Patreon, Pixiv, or Fan Box.

You can be sponsored from all these sites.

Or recently, there's a site that auctions paintings.

Digital drawings (NFTs) are also auctioned off,

and I heard that there are cases where you can earn Bitcoin or crypto through that.

So, you can make money by drawing your own work

and there are many new ways.

Illustrators will improve their quality

and the standard will be higher.

In order for us to adapt to that,

we have no choice but to keep looking at references.

I'm sure you've seen them before, but,

teenagers from the 2020s,

let me say it again,

if you compare the drawings of teenagers from the 2000s

and the drawings of teenagers from the 2010s,

teenagers in the 2010s

are better at drawing.

It's inevitable because

they have more accessible materials.

They had more access to materials,

and even if they didn't analyze them much,

there are still things that stay in their heads.

And because they draw using those things,

compared to teenagers who drew in the 2000s,

they are better at drawing.

What does that mean?

If you use references well,

it means that you can improve your skills more.

For those who draw full illustrations,

you have to study

how a certain artist composed the gaze

and how a certain artist composed the canvas

and so on.

Try to be like them

or try to go beyond that.

If you keep practicing

full illustration

you might be asked to draw loading illustrations,

or draw illustrations for novels.

You could draw fan art to draw attention,

or upload your work on Patreon.

I think it'll be a huge help when you do that.

Portrait illustration.

As expected, the standard is going up for this too.

There are a lot of high quality illustrations coming out these days.

In the midst of all that, from the perspective of people who have to work,

to the point where the students look pathetic,

the overall quality of illustrations is high.

In the past, you just needed to draw characters.

If you could have just drawn a standing character,

you could have found places

to work.

But, these days, this isn't enough.

These days, people who draw characters

can even draw backgrounds.

So, you should be able to draw backgrounds

and draw simple objects as well.

So, for those who draw full illustrations,

this training will help.

For those who draw portrait illustrations,

I'd like you to practice describing things

like metal,

trees,

or simple objects

like cups and things like that.

The ability to copy those things...

I'm literally talking about the ability to copy.

Spend about an hour or two

to actually imitate objects.

That's how you would train.

If you can improve the level of perfection of your description,

it will definitely help you draw better illustrations later on.

Please continue to do those exercises.

Of course, the composition of the canvas would be necessary.

There's a limit to canvas composition, though.

In the midst of such restrictions,

it would be important to practice

drawing beautiful illustrations in a stable way.

For portrait illustration,

compared to full illustrations,

it requires a lot of perfection,

so in a way, it's the kind of work that requires stability.

Companies want illustrators who can draw high-quality work with stability,

instead of more challenging work.

So, I guess

it's good to compose a challenging canvas.

But composing a stable canvas,

no matter how you compose the canvas,

there shouldn't be any imbalance when you look at it.

You should make the gaze flow naturally.

In other words, stability.

I think it'll be good to practice with a sense of stability.

That means you will work well in the end.

When it comes to being an illustrator,

I think there are two strengths.

One is someone who draws well.

And the second one is someone who draws stably.

They're both good at drawing but...

In terms of sports, you can compare it to muscle strength and muscular endurance.

There are people who have one or two popular artworks.

There are other people

who aren't that popular,

but who produce high-quality illustrations all the time.

There's a difference between the two/

For example, if you want to be hired by a company,

or if you wish to be scouted,

you'll focus more on

drawing stable illustrations.

If you want to work as a freelance artist,

you can focus more on

making one popular work.

So, depending on what you want,

you should practice things differently.

If you draw through this process,

you'll be able to draw a picture of yourself.

What I'm saying is

if you practice with a certain skillset,

you can think about

how you can draw

and what kind of impact will it give.

For example, let's say your skills are here.

Because you want to draw a full illustration,

out of the things that are necessary for a full illustration,

you have weaknesses

in how to draw a charming character

and the lighting and composition.

Let's say your biggest weakness is composition.

Then you need to learn that first.

What would be an effective way?

It's most effective to analyze the screen composition while looking at the references.

It'd be good to draw it from time to time, too.

How long should you practice?

You should practice for a few months,

or for a few weeks.

You might want to see the effects clearly

and set your own plans.

Actually, I'm sure that I've said

the most important thing is to learn how to study.

I think I've said that before.

I wanted to include the process of perceiving illustrations

into this curriculum.

You can improve your drawing skills later.

You're going to improve your skills anyway.

I can't improve it.

I just distributed information to improve your skills.

It's the responsibility of the students

to make it your own

after you've collected the right information.

It's one of your jobs as students.

From now on, what you have to do is,

when it comes to studying,

make a plan.

What do you need?

To practice,

which method would be effective?

How long should you practice it

to get the effects you want?

Let me tell you about this.

This is something

I commonly tell students.

This is what studying is all about.

The first thing is to find a problem.

When focusing on concept art,

since you haven't designed a lot, the design might look poor.

You might think you have much more weaknesses in fantasy design.

Like this, you should identify what your downsides are

with as much detail as possible.

The first step is to select the details and make them into data.

If you found the problem,

look for the solution.

I'm sure you can predict it to a certain extent.

While listening to my class,

you can use what you learned from it.

For example, what's important when it comes to design?

The silhouette arrangement of the entire design,

and the ability to come up

with concepts.

And there's also the placement of dimensions, gaze, coloration and so on.

Find the weakest one for you.

To practice making concepts,

you have to draw characters with various concepts.

If you want to practice the silhouette,

you need to draw many silhouettes.

In that way, you need to find a solution.

If you've done coloring, apply it.

You need to try it right away.

In the process of applying it,

it'll be good to think about how long you should do it.

If you applied it,

after that, give yourself some feedback.

If your design skills are weak,

especially with fantasy,

and if it's hard to draw detailed equipment,

you should practice drawing them.

Look for things like fantasy armor

and work on them for two weeks.

Do one illustration a day.

Use this to go into a real game.

You need to actually design.

When you have designed it, it will have gotten a bit better.

It's a little better than before,

but you will have some room for improvement.

Then, you would have solved about 30% of your problems.

What should you do to make up for the remaining percentage?

Say you've designed something curvy,

so you would then go into designing something linear.

Look for armor with a lot of lines.

Or, you might think that

you need to be able to draw leather clothes well.

Then look for designs for leather clothes.

Find a solution here,

and apply it.

The feedback process will become repetitive.

This is what studying is all about.

So this flow will help you

increase your drawing skills.

So, see if you're going well with the flow.

Think about it well.

If you're not doing that,

I hope you try it.

I think you should try it.

I think it will definitely help.

So, that's the summary of my curriculum.

Using the basic skills of the human body,

once you understand the perspective, silhouette, and composition,

proceed with them purposefully.

In the end, the ability that you want

would be in drawing the way you want.

In other words, through calculation,

under thorough calculation,

and as something extra, add your own sensitivity.

I think our opinions go hand-in-hand

with our illustrations.

Under a thorough assessment,

you need to think about why you illustrated a certain area in that way.

If you just put it in because you liked it,

or if there are one or two of these things,

I think that will create a charming illustration.

If you don't calculate at all and just go into those things,

it could still be a good illustration.

But it would be very abstract.

Sometimes, you can feel like the drawing is poor.

It could feel less stable.

Even so, if you calculate everything completely,

the illustration would look too cold.

It's stable when you look at it,

but it won't be an exceptional illustration.

As an illustrator,

it might not be a good example.

You can still work, but,

there would be something missing

when it comes to that illustration being a success.

So it's good to think about what kind of illustrator you are.

You may think your illustrations are stable.

Or you may think you're more like an artist.

Because you're an artist,

you'll tend to draw in challenging ways.

Think about what kind of illustrator you are,

and if possible, please try to go for both.

I've told you this before.

The strengths and the weaknesses come together.

If you have strengths,

there are weaknesses that come with it.

The person who draws a stable picture

might not be able to draw a jackpot.

If you're a sensitive person

you might be weak at drawing with stability.

Then you have to try to achieve the opposite

and you need to be able to stabilize your strengths.

Just because you have a weakness doesn't mean that it's not important.

Your strengths are important, too.

Even so, just because you have strengths,

it's not like you can ignore your weaknesses.

In the end,

you need work on both.

But you need to think about

what to strengthen and what to practice.

I'm sure there's some of you

who aren't good at

drawing sentimental pictures.

I'm sure there are people who are drawing later in their life.

Most of them are not familiar with the latest trends.

So there are people who want to know how to get familiarized with them.

What are the latest trends?

There are also people

who aren't sure what being pretty is all about.

In that case, there's no choice.

If there are things that we don't understand emotionally,

you have to understand them with your brain.

You have to be aware of the things that people like.

Most people like this kind of stuff.

Why do people like these things?

Think about it.

You need to be able to continue to draw out the reasons for that.

For example, let's say that recently, characters with small eyes

are more popular than characters with big eyes.

So these days,

a lot of characters have small eyes.

The reason for that is,

recently, when characters have eyes that are too big,

people might find them awkward.

But with smaller eyes,

illustrators pay more attention to the production,

and describe the illustration in detail.

So the overall quality looks better than it does in big-eyed illustrations.

So, maybe because of that,

the coloring quality

will be higher.

You can analyze it like this.

If there's something that you don't understand emotionally,

you can't help but

analyze it.

With the parts that you're weak in,

you have to keep practicing like that.

For example, you might not know why the frills on the skirt are pretty.

Actually, I didn't, either.

I didn't know why the frills on the skirt were so pretty.

But if I were to draw frills right now,

I can draw them in any way.

I was able to draw this frill because,

people like the frills on a skirt.

It has a round silhouette

so it looks pretty when it's layered.

Understand it like that.

And because I've utilized it,

now I can draw frills like this.

In the end, you're going to fix your weaknesses like this.

And you'll increase your strengths.

I think it's good to practice drawing.

I said a lot of things.

In the end, when it comes to studying drawing,

you should be aware that you're studying,

and I hope that you feel

that you are learning something from it.

If you study drawing on your own,

there are times when you feel like you're walking on a hopeless path.

But your indicator would be

the motive that you set as your destination.

I told you about it before with the references.

With references,

if you have a motive,

it's about getting closer to that motive.

Acknowledge what you will need

and make the sub elements for what you will need.

Clear through them one by one.

It's important to feel fulfilled.

It's a bit of a psychological thing, too.

People are not machines when it comes to studying drawing.

What is studying after all?

It's about strengthening your weaknesses.

But it won't all be fun.

People have fun at what they're good at.

People are very tricky.

People are tricky,

so in the end, people like what they are good at.

Then, it will be good to control that well.

You need to feel a sense of achievement.

Goal-setting would be help you

feel a sense of achievement.

Keep looking for solutions

and apply your knowledge.

It's important that you feel

that you're accomplishing more than before.

Without that, you can't draw for a long time.

If you just try extremely hard to go beyond your skill,

you might make it there.

But other than those few people, it's going to be hard to hold out.

As such, when you work on illustrations,

continue to make things that will give you a sense of accomplishment.

So, I hope that you can feel

that you're moving forward.

From the perspective of studying,

I hope this curriculum helps you

set those things up

as you continue drawing.

The portrait illustration and full illustration

that we made during class

will be completed and uploaded later.

I'm going to upload them,

and students can work on these things.

Upload them once in a while.

If there's a place to upload them to,

do it.

If you don't want to, you can just look at them yourself.

Keep them as your own resource,

and later on,

you can look back at them when you have time.

Do your best to draw.

This is the end of my curriculum

so I'll wrap it up here.

Thank you for taking this class!

Keep up the great work.