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Hello.

From today,

we will go through Section 3.

As I said, Section 2 was about

the method for practicing characters.

So, it wasn't practice to draw a perfect illustration.

When you train for that character by yourself,

what kind of training is good,

and how you deal with that when you approach it,

and the process of learning about that, was focused on in Section 2.

Now, in section 3,

before we move on to the actual drawing,

we're going to go over

what's important.

We'll learn how to make the human body look good

and how you can create it with your own intentions.

We'll learn

what kinds of elements we can use

when we're composing a canvas.

In other words, what we're going to do from now on is

a real illustration class.

Since we're going through the illustrations,

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let's take some time to remind ourselves

of the old information we are about to forget.

What's important in illustrations is,

what we make up is not the composition of the characters,

what we make up is

a square screen called an illustration.

When it comes to organizing this screen,

the character is just used as a theme.

It's very important.

Please remember this part.

Then, using the theme of the character,

when you organize the screen,

how could you approach it?

In terms of approach, the theme of this character is...

We usually draw character illustrations, right?

It's kind of like meat.

Comparing the ingredients to the illustration,

the character is like meat.

What is meat?

Except for those who really hate meat,

it'd be the main character if there's meat as part of your meal.

It stands out.

Most of the main characters eat it by themselves.

Then, how could you make sure the meat is delicious?

Of course, the freshness of the meat itself is very important.

The freshness of the meat means

how well developed this character is.

The setting and appearance of this character

and the appearance of your design or your drawing skills,

those things are very important, too.

Of course, it must be important.

People say that quality matters for meat.

But apart from that,

no matter what kind of meat it is, the recipe is

very important.

If this was the illustration,

it's going to be the direction part.

We brought the best A+ beef.

We're going to cook it now.

I grilled it for 5 hours.

The meat will go bad.

We shouldn't cook it like that.

And it's no good to have the meat raw.

Then what should we do?

Prepare a garnish,

depending on the quality of the meat,

if the meat is relatively poor quality,

or if it's a minor part of the animal that people don't like,

find the right recipe for it,

or if it's a part that people do usually like,

for example pork belly,

it goes well with just salt and pepper.

Like that, for the major materials that people like

you have to think about how it would be in a raw state.

If you don't think people will like an unfamiliar material,

you need to make an impactful recipe to match it accordingly.

You need to be able to direct it.

So we prepared material earlier.

What we prepared in Section 2 was

about characters.

Then starting from Section 3, related to the theme of characters,

how should we direct them?

We're going to take some time to figure it out.

Before we start, let's take a look at the gaze.

So, what does the term "gaze" mean?

When we look at the illustration,

in what order would the eyes see, from where to where?

This is the gaze.

When you look at the screen,

people's eyes start from the top left,

and they're going to go down to the bottom right.

This is the exact order.

Of course, I don't think everyone reads like this.

It can change depending on the situation of the illustration,

or people from Japan might look at it the opposite way.

There's a theory

that it's closely related to the order of reading.

People from Japan do read from left to right.

But they read manga comics from right to left.

I heard that they could even be flipped over.

In general, though, it's from left to right,

and there are many cases where it goes down and flows to the right.

That's the general framework for the gaze.

Then how will it be used?

You might wonder if this theory exists.

When you design a movie poster,

you don't put important designs in the bottom left.

So important information is as central as possible,

or on the top right side.

They fill this section with

as little important information as possible.

It'd be great to take a look at

a few movie posters later.

In illustration,

the gaze is almost like a simple frame.

Then we need to know how to use this.

So, let's say people gaze

from the top left to the bottom right.

So,

how should I use this to make it well?

Let's organize it again.

We need pretty illustrations.

That's what I think.

As a result, think of it as making one illustration

you can focus on for a long time.

Unlike cartoons and animations,

You have to make a strong impression with just one illustration

and you need to put in elements

that the viewers can enjoy.

So, it's very important to

make the gaze linger as long as possible

on this one piece.

Then, what are the conditions for that?

There are two main conditions.

First, the gaze needs to flow smoothly.

And secondly, in the middle of the smooth flow of the gaze,

there has to be a break.

You need to 'feel' the illustration.

When things go that way, as a result,

we can feel the illustration for a long time.

You can think of it as a good illustration.

Then let's apply it to a character.

For those who are confused, let me summarize.

When you look at the screen,

from the top left to the bottom right,

that's people's general gaze.

And when you apply this to illustration,

so that we can keep our eyes on it for as long as possible,

we're going to display them now.

We need to arrange things that we can enjoy from time to time,

so that the viewers can be satisfied.

Let's divide it into details.

If I were to go into character illustration,

how should I create this?

In the character illustration,

let's imagine

how people will look at the illustration.

When you students see a character illustration,

which part will you look at first?

I think most of you will see the character first.

Sometimes not.

Even if it's an illustration with a character,

there's also illustrations that are mainly background.

So it's only about 80-90%.

There are times when it's not.

But for most of the illustrations,

you may notice the characters first.

Which part do you see in a character?

We look at the face of the character first.

Look at the face and move to the body.

It's a general flow of the gaze.

I'll open up a few files.

I brought two illustrations.

1 and 2.

You'll be able to see that the two images are quite different.

The first page looks very calm,

overall, it looks cool,

and it's comfortable to observe.

While the second one looks a bit more intense,

and more dynamic.

What's the difference between these two?

Let's

think about it.

The first one looks at the face first,

and then it goes down towards the body.

It could be different if there are background elements.

But usually in an illustration with a single character,

the flow from the character's face to the body

would be the most common trend.

That's why we see the face first,

and when it goes down,

since the character's body isn't that bent either,

it gives a calm impression.

On the contrary, the more your upper and lower body is bent,

it would give you a dynamic impression.

But this time, the character's body is calm.

You can't help the gaze flowing like that.

But the second character's face,

on the other hand, it's down there.

Let's say we have the introduction, development, turn, and conclusion in an illustration.

If the first illustration showed what's important in the introduction,

the second illustration showed what's important in the development stage.

That's why it gives a strong impression,

and unlike the general trend

that the flow of the gaze moves from top to bottom,

it bent from the bottom to the top.

So it goes opposite to the flow,

which was from top left to bottom right.

So you may wonder

whether you could do that or not.

Of course, it's uncomfortable to look at now.

This is an illustration that you can see only at a glance.

But by making them go against the general flow,

by putting it in the opposite way,

it gives it a dynamic vibe.

It makes a strong impression.

You usually won't use this kind of mixture.

But if you do use it,

viewers will think that it is unique.

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Other than that, if you look at the overall flow of the gaze,

there aren't many things that disrupt the character at this point.

The gaze flows from top to bottom,

and there's nothing distracting in the middle.

You can say that there are elements that go sideways,

but there's nothing in particular that distracts our attention.

Even the clouds in the back,

you'll be able to see them as if they're surrounding the character.

But if you look at this illustration,

let's say the flow of the character's eyes goes up like this,

in between, there are elements that distract our attention,

and the flow that goes back and forth.

You'll be able to see that most of those flows are connected.

Because of these things,

this illustration becomes more dynamic.

Within the gaze,

there are the main gaze and the sub gaze.

Main gaze and sub gaze.

If the main gaze focuses on

the character,

the sub gaze will decide

the overall atmosphere

of the illustration.

To give a flashy and dynamic vibe,

the sub gaze is arranged for us

to cut off the flow as much as possible.

So that it seems like there's a lot of meaning behind it,

with a stronger impression,

and that's that kind of illustration.

On the other hand, with the former one,

there's nothing that bothers the flow of the gaze,

so you could observe it calmly,

and you come to focus on it and observe it slowly,

in a relaxed manner.

So the way you create the illustration changes.

This includes the drawing of the character,

but it also goes for the coloring.

For example,

this character has more light.

There's a lot of shadow as well.

But on the other hand, there's not much shadow on this side,

and the light spread so smoothly that it came in.

Including those things,

with example A, the overall gaze

would be droopy.

However, the gaze flow would be different with example B

because the image is fancy and strong.

It is the difference in the illustrative mood,

depending on the gaze.

Let's come back to this point.

In character illustration, our main gaze

flows from the face to the body.

The more the gaze flows calmly,

the calmer the illustration will be.

But, if the gaze flows in the opposite direction

or if it is reverted

and if there are fancy elements

that distract the gaze,

it will make a stronger impression overall.

There are many other things you can utilize,

but, that's all you need to know for now.

If you want to draw a calm character,

then, try to make the character's gaze

not interrupted by any objects.

And try to make the overall flow calm.

On the other hand, if you want to draw something dynamic,

it's also important to strengthen the flow of characters,

that's an effective method.

In that intense flow,

by using these additional elements,

the gaze won't have a single flow

but will the gaze will be cut off in the middle

and the illustration will look fancier.

Usually, you can say that you're making it

by understanding the difference depending on the mood

and utilizing that knowledge.

Even if we went through some theory,

you still might not get it.

Let's use it a real situation.

We're going to use the character on the left,

to draw a simple illustration.

Since it's a character in a swimsuit,

it was made for skin samples.

So with this one,

let's say we're drawing an illustration.

I'm sure it'll come out in my teachings about thumbnails but

when composing the thumbnail,

it's important to make the parts

you want to emphasize more clear.

First of all, to draw attention,

we need to organize it well.

So the first illustration will be a single character.

Let's look at various cases.

For the second illustration,

we're going to use simple objects with it.

And in the third illustration,

we're going to have multiple characters.

These three things,

I want you to practice these things the most

when you work on illustrations.

Let me tell you why.

There's nothing else to say

about the character.

In character illustration, we would draw a lot of illustrations

with a character in it.

And we're going to connect a lot of things to the character.

But if that object doesn't go well with the character,

you may struggle when you draw illustrations.

So, to match the character,

we need to know how to deploy it.

In addition to that,

you will practice a lot of illustrations

with two characters at the same time.

Especially among those who want to work in the field,

or those who want to work on the covers of novels,

if you want to try that later,

it's very important.

Most novels have two or more characters on the cover.

And most of them are male and female characters,

cuddling each other.

So, it would help you a lot

if you know in advance how to make the gaze flow

when you're composing the characters.

Let's get started.

If you are going to show

the character first,

and you want it to be more dynamic overall,

with the upper body part of the character

being emphasized.

Or you want to emphasize the lower body.

You need to decide these things first.

I'm going to show you something dynamic.

I'll show you a dynamic performance,

with a way that emphasizes the upper body of the character.

Let's get started.

If we were to do it dynamically,

you can bend the gaze

from the top left to the bottom right a little bit.

Then let's put the character on the right side.

I'm going to place the character on the right,

and we're going to increase the amount of information here.

The character is wearing a swimsuit,

and the design is very simple, too.

That means,

there's not much information added.

But if you tried to give a strong impression,

as I said,

we should put a lot of elements around it.

But we decided to use the character only.

Then you have to increase the information that makes up the character.

How can we increase that information?

There are many things you can use at this point,

but if I were to point out one thing,

there's an element called perspective.

An illustration with perspective,

and one without it...

out of those two,

the illustration with perspective looks a bit fancier.

Therefore, if you make an illustration

with a high angle and perspective applied,

it'll make a stronger first impression.

But even if you just use it like this,

it might not be enough.

If you want to explicitly apply perspectives,

how can you do that?

You can use a perspective that widens.

For example, the face of this character,

it makes it look like a low angle.

And on the upper body,

give a strong high angle.

If you do it like that,

with the upper body with that angle and without the angle,

or the part of your face that went into a low angle,

able to make a gap.

So there are two angles at the same time.

So that the people who are observing

might think there's a lot of information there.

I said it would be more dynamic

if you bend the upper and lower body a lot.

To make the background more fancy,

you can direct the character to be swimming in the water.

I think you could direct a circumstance like that.

If you arrange it like this,

although it's a character in a simple swimsuit,

you could see that the overall vibe has become quite fancy.

So, there's a difference in atmosphere

when you draw this standing character

like this,

and like this.

Let's see how many theories you've used.

First,

people's gaze,

basically, it flows from top left to bottom right.

Since we were going to make a dynamic vibe,

it was a bit different from the basic structure.

So it went from the top right to the bottom left,

and it is made up of a line that falls back to the right.

This is the first theory.

And second, perspective,

to give information.

Since the character's design is simple,

to increase the amount of information,

the face is kind of at a low angle,

a high angle for the upper body,

and by giving a stronger high angle to the lower body,

I put a lot of perspective in between.

We made sure that

the viewers can focus on this area, where there are

a lot of elements.

By applying a high angle,

we made sure that the viewers can focus on the chest area

and the facial area.

So we have three theories in total.

On the other hand, if you want to make the illustration look calm,

you're only going to draw this character,

with a calm mood overall.

Then,

things change a little bit here.

Let's do the opposite.

What did we do first?

The gaze flows from the top left to the bottom right,

let's start from this point.

And keep the perspective as low as possible.

It's going to be a low angle,

but we're not going to turn up the angle more,

we're going to apply just a small low angle

or just not apply perspective at all.

The posing of the character

is the usual dynamic posing,

so let's change it to a normal pose.

Let's say there's some background.

It would be a bit bland if the gaze just goes downwards.

In fact, in illustrations, it's good if the screen is full.

So, to do that,

we have to put in more elements here.

Let's put in palm trees.

Because the character is wearing a swimsuit.

If you place it like this,

you'll be able to see that it's definitely different

from the character on the top.

It's definitely more dynamic.

Quiet and calm.

You can feel the difference between the two.

To tell you one more theory at this point,

when you are positioning the gaze,

and when you position linear elements around it

like these ones,

it's good if they are connected naturally.

If the lines are cut off in the middle,

the gaze won't flow naturally

like I told you before.

So, when these linear elements are added,

even when they go outwards,

you need to make sure that the gaze

goes back in again.

So, these elements would

be connected when you place them

no matter how you place them.

Although it might be unnatural,

you need to place these elements well

so that the viewer's gaze

can flow along with them naturally.

So, with this illustration,

the gaze that went to the bottom right with the character

shouldn't just end, but it should go back up with the palm tree.

So, what element can we add

so that the gaze that went down with the character

from the right

to the bottom

comes back up again?

We can make it look like they're swimming.

So, we can add a spray of water

or a tube.

If you add these elements,

it would be even more effective.

So, we briefly looked at

how the gaze applies

when you're composing a canvas

with a single character.

Of course, this is just one of many cases.

You can think of it as the overall flow.

If you want to draw a calm character,

you can do a static gaze.

But if you want to draw a dynamic character,

break the flow

that goes from the top left to the bottom right,

and while working on it,

add other elements on the side.

Then, at this point,

What happens when the elements are connected?

The difference is,

when you're directing the character,

you can think of it

as a main element with sub-elements inside the character.

If you want the upper body to stand out,

from that information,

this would be the main element.

And the rest of the parts would be the sub-elements.

So normally, illustrations that go into a single character like this,

would be a sexy concept.

It's often used in that kind of concept.

Expressing a character's body becomes very important.

On the other hand,

when you compose an object item,

the item "object" itself,

would be a sub-element.

Of course, there are illustrations

where the objects are more important than the character.

But, most of the time,

the objects are the sub elements

and the characters are the main elements.

So, if the objects are the sub elements,

depending on how you use them,

the atmosphere would be different.

Let's say a character is holding an accessory.

A unique accessory that looks like a fish.

When we have a character like this,

let's say that it has a fish-shaped purse.

Let's simply draw a character

and let's say the character is cute.

This is a cheerful character

and you want to create an adorable mood,

and not a sexy mood.

So, if you want a cute character,

make sure the objects work as

sub elements.

It's better if the character has a stronger impression.

When you're creating a cute character,

usually, the main and sub elements

have around the same influence on the mood.

So, you don't have to focus on the character too much.

With pretty or calm characters,

the artist would want you to

just look at the character.

On the other hand, with cute characters,

viewers tend to perceive the situation itself as cute.

So, the connection between

the character and the sub-elements will be stronger.

For example, when there's a fish-shaped purse,

you can make it look alive by

making it jump upwards,

and this character

could be playing with the purse

so we can utilize its hands like this.

The hands can also be a kind of sub-element.

So, raise its hand, and place it near the face.

So, when we come to the character and its main element,

in a character illustration, the face is the main element.

We look at the face first,

then the objects we see next will be placed close to the face.

So, the character could be cute, or cheerful

or give a strong first impression.

What does that mean?

Let's take a quick look.

But first,

I'll use the space here.

Let's say this character is aggressive.

If it is very aggressive,

it could bite the fish like this.

If you take a brief glance,

it would look scary and obsessive.

Of course, to make this clear,

you can change the posture like this.

Then it will look more natural, but anyway,

this would also be one of the ways

to give a strong first impression

by placing the character and the sub-elements close to each other.

Then, on the other hand,

if this goes further away from the character,

or, if it doesn't have a strong impression,

the illustration would become calm

since we can then fully concentrate on the character.

That is why

when you're placing this object with the character

you can make this object obscure

by making it come closer

to the viewer.

So that way, it would be further apart from the character.

Then, if we're going for a calmer look,

remember how I said the hands could be a sub-element?

I'll spray water like this.

So, compared to the previous examples,

the fish is far apart from the character,

and we almost can't see it.

So, that's why

compared to the previous examples,

we can now focus more on

the character.

We would only focus on the facial area for this example

and for this example too.

But, with this example, the viewer's gaze would be more spread out.

So, you can now see

that this illustration looks calm and mature

compared to the previous ones.

Because the X shape on the fish is really casual,

if we move the fish

more forwards so that we almost can't see it,

it will look even more calm and mature.

Let's wrap it up.

Because there were a lot of hard concepts.

When there's only one character,

when you are directing the gaze,

you have to divide

the main and sub elements within a character.

For example, like I emphasized,

the character's upper body.

If you are going for a more dynamic pose,

don't make the gaze flow

go in a straight line,

and add in as many elements as possible.

On the other hand, when you do a calm illustration,

I said to reduce the amount of information,

and it's better to keep the flow of the gaze

from the top left to the bottom right.

Next, when you connect things together,

this thing that serves as a sub-element,

the closer the item "object"

is to the face of the character and the main element,

it gives a stronger impression.

If you place this one further away,

it gives a calm impression overall.

It's the layout method of the characters and objects

when you use the sub-element section.

Let's look at another case.

It's the case where multiple characters are deployed.

The reason I split up the examples is because

if we have multiple characters,

we already have two main elements.

Remember when I previously compared the character to the meat in a dish?

So, in that sense,

this is like a dish with chicken and pork.

So, if we slip up,

it could be an ambiguous dish

without an actual theme.

So when you're placing two important elements,

in other words, complex information,

you need to be very careful

when you're placing your characters.

A common mistake is

placing characters side by side.

Now, when you're placing them,

you need to decide

how you would direct the gaze.

You need to decide if you'll split them into a 5:5 ratio

or if you'll split them into a 7:3 ratio.

In other words, you need to decide what's important.

Like I mentioned,

our gazes focus on the characters the most.

And if an illustration has more than two characters,

it means there are more than two main elements.

So, how would you approach this?

Like we did to this illustration with only one character,

we divided what is the main element from what are the sub-elements.

So we can also decide who is the main element between these two characters.

This is used often.

But if this doesn't suit you

and if you want to split the screen

at a 5:5 ratio,

you need to put a lot of information into it.

It's an illustration with a lot of information.

Since there's a lot of information,

you should make the other one look calm,

or out of the two,

you need to decide on it well.

Usually, when you have multiple characters,

there are several patterns.

When it comes to placing the body,

the reason why it has these patterns is,

I said this is a really bad example before,

the reason why I don't like this view is

there are two starting points for the overall perspective.

You can see the character on the left first,

or the one on the right first.

And both of them have nothing to do with a flow.

That's why having different perspectives

means two gazes exist.

From the perspective of the people who are looking at the illustration,

it becomes a very confusing illustration.

Then if you want to draw an illustration

of these two characters facing each other,

then what should we do?

You need to tie up the flow,

somewhere.

I'll show you how to tie it up.

Let's say the two characters are at odds.

This is one of the ways to use it.

To explain this flow,

let me explain.

The flow of the body is

placed like this.

If you say that the eyes are drawn separately from the previous one,

in the middle, they will meet somewhere nearby the waist.

You'll be able to see that the gaze is tied up.

So, if it's an illustration where the characters

are just standing next to each other,

the example that I just drew

and the left example where we directed the gaze into one

will have different amounts of focus.

There are other kinds of information too.

What are they?

If you see the gaze here, you can see that they draw a line.

So, we made a more natural connection

between these two characters.

One has a high angle, the other has a low angle.

Also, it looks as if the bodies

are intertwined with each other.

So overall, the two characters

look like they're stuck to each other.

Unlike these characters,

this composition helps

to draw far more attention to the middle.

So, when you have to confront the two characters,

you need to tie the gaze like this.

There are other ways to tie it.

Let's say it was tied in the middle,

with the arms crossed

like this

so it's different from the previous one.

It's not tied in the middle but from the top.

This is also one of the possible gaze adjustments.

Compared to people standing still,

it feels like it makes the illustration fuller.

Compared to the one tied me up in the middle,

it's going to be wider in the middle,

so this is a diamond silhouette that we'll learn in the next class.

It's a silhouette that gives a flashy impression.

So even if you look at the illustrations at the top,

you'll be able to see that it's much more intense.

But, let's say

these two characters are friends with each other

and you want to show that.

Then, their bodies won't confront each other

but overlap each other.

In this case,

when you make these bodies overlap,

the canvas won't be split into a 5:5 ratio.

Instead, one character becomes the main element.

If the canvas is split in a 5:5 ratio,

the viewers would be taking in a lot of information.

From their point of view,

both the characters are important,

and they would have to look at both of them because they're hugging each other.

But, if it's a situation where they're hugging,

it would be an intense situation.

What is an intense situation?

If they went from staring at each other

or clashing with each other

to hugging and embracing each other,

then, the latter would have a more natural flow.

So, if you have a more natural flow,

you should set one of the characters as the main element.

Use both low and high angles,

and if you compose things like that,

because the overall flow of the bodies overlap each other,

the characters would look very close.

So, this is used often to give that impression.

When you use multiple characters,

to make that the character's layout not too straight,

I try to avoid such situations.

And the main elements of the two characters...

Will it be 5:5?

Or are you going to make it 7:3?

It's important to think about it.

Usually, when the characters are overlapped,

it's 7:3.

And when the characters are in conflict

and if it's about 5:5,

regardless of the gaze,

it's very effective to tie it up once.

Whether it's in the middle or above,

it doesn't matter if it's down there.

Try to draw the attention

and it's the same for putting them together.

Direct the gaze into one point.

Two friends who are strong-willed,

you need to be able to make them neat and use them together.

Mix the chicken and pork well.

I mean, we should make ham or something with it.

Let's wrap it up here.

We have a long time to list the things we've learned today.

Since we went through some difficult content,

let's talk about it one more time.

Let's start from the beginning.

Today, we learned about how to deal with the gaze.

The gaze in the illustration is

about the order of how

viewers look at this illustration.

Most of the time, our eyes move from the top left to the bottom right,

and it's based on the flow.

In the illustration,

you need to be able to hold onto that gaze for as long as possible.

In order to do that

the gaze has to flow smoothly,

and there have to be a lot of parts involved.

In the meantime, in the character illustration,

the starting point of the eyes is determined.

Most of them are faces.

Then, when it flows from your face,

we need to be able to attract attention effectively.

So, we've divided the types of illustrations.

It's something that we usually deal with

when we draw the character illustration.

Frequently used cases.

First, when you use a single character.

Second, when you connect the character and the object.

Third, when you connect the characters.

If I were to add one more thing,

it'd be when the background is added to the character.

In other words, in this situation,

when you use a single character,

we only have characters to see,

even within the character.

So that there's more to see,

it's important to arrange it.

So if the design is complicated, it doesn't matter.

If the design is complicated, it's fancy even when it's just standing still.

But those with simple designs can't do that.

The one with a simple design,

I want to draw it as a single illustration.

When you say that...

inside the character,

we need to divide the main element and the sub elements.

The main element needs to be highlighted.

If you want to express it dynamically,

break the gaze we had set before.

On the contrary, if you want to do a calm illustration,

try to maintain the gaze.

If we proceed along it, we will be able to establish a route.

That's it for the single character illustration.

You'll be able to figure out the direction part.

The important thing is

to highlight what you want to emphasize.

That's what the major element and sub-elements are.

Let's think about them separately.

I don't do that when I draw characters.

Unwillingly,

while drawing this character,

the shoulder line is the key.

If you want the face to be pretty,

if you hope this one has a good vibe,

and since the design of the outfit is pretty here,

you are going to show this side.

If you organize the illustration with the intentions

that you are going to make people focus on it somehow,

the feeling on the screen will be different.

It's the same when you use things.

The character's face and the object,

the closer you put it, the stronger the image becomes.

If it is farther away from the character's face,

overall, it has a calm image.

When deploying multiple characters,

you can put the two characters in conflict or combine them.

The flow of the body must be well arranged,

and so on,

as a result, when you configure the screen,

it's better to direct the way you think.

In the end, it's directing and that would be the recipe.

In the end, the dish called drawing,

to make it delicious,

in our curriculum,

the most important thing is this recipe.

Today, we briefly talked about directing.

Actually, it's a bit difficult.

Of course, even if you didn't understand today,

there's a silhouette class in the next chapter.

And a design class later on.

Colors and things like that.

In going through those,

we'll continue to talk about directing.

In this curriculum, we reduced the basic skills.

The reason why I'm emphasizing this part is

with the original goal of drawing how you think,

I think that fits the best with this direction part.

Why would we do that?

Usually, we don't even think about it.

We often skipped this section.

People come up with a specific character in their minds.

But while drawing that character,

what did you want to show?

I hope you think about it again while taking today's class.

When you draw this character,

make sure you show the viewers what you wanted to show them properly.

And double-check

if you have second thoughts about it.

I hope you use these ideas well when you organize your illustration.

That's all for today.

I'll go over more details in the next class.

We're going to talk about the silhouette.

And,

we'll have some time to practice it.

Today, we used a character

to make up an illustration.

In the next class, we will handle the way

you can apply the gaze when you design.

This gaze is not only used in illustrations,

but you can use it when you design.

Let's see how we can use it in the next class.

We're going to talk about it together.

Thank you for your hard work today.

I'll see you next time.