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Hello, now is the time to start designing.

From this lecture,

students will have time to work on an actual drawing.

We're going to design using what we've practiced before.

Based on what we are going to design today,

we're going to draw an illustration later.

If you're copying my examples as you're taking this lecture,

I think

you can follow the tempo I'm drawing at.

The main course of our class starts today.

If possible, try drawing along during the class.

I think it'd be good if you draw with me.

Before we go in, let's wrap this up.

Design.

Some get scared of the word itself.

Because they assume it's going to be too hard,

and it's not for us but for professionals.

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Some people think like that.

Let's talk about what design is.

Does a design have to be complicated?

Should it be complicated?

What's important?

How should we practice?

We're going to talk about these things.

First of all, I'm going to show you the designs that I drew while scribbling.

Let's open a few up and talk about them.

When I am designing,

I emphasize the importance of the concept.

You can say it's the first impression.

What kind of impression do you have when you first see your character?

And if ten people look at it,

would those ten people say the same things about it?

I think it's very important.

llustration shows the difference between cartoons and animation.

The difference is

you can draw a lot of pieces for cartoons and animation.

And you get to see the character several times.

So, even if it's not unique in design,

there's a place where you can express the charm

of this character.

But on the other hand, what we're doing right now,

or the design that you're going to experience,

with just this one piece,

to be honest, all the charm of this character,

even if it's not all the charm,

you need to be able to show most of its charm.

And when you think you have expressed that,

but the viewer doesn't agree,

this could end up being a failed illustration.

Illustration is like a language.

I talk about something and the other person gets it.

From the point of view of going through this process,

in a way, it's a language.

I like comparing cooking to drawing.

There's a theme for this character,

and according to the recipe you made,

you have to cook and serve it.

But it needs to fit well with the restaurant.

For example, if you open a kimchi stew restaurant,

and if you sell omelet rice, that's not too bad.

But it's kind of awkward if they sell spaghetti all of a sudden.

So it's important to make sure

the viewers enjoy it.

If you look at a few designs,

when you look at them, the design of each character,

unlike your expectations,

may not be expressed in detail.

Some may look comfortable,

and some may look simple,

while there are smaller ones.

But what's most important is

the first impression of the character.

You may think that this character looks calm

and that it looks formal.

On the other hand, this character could look cheeky.

It looks like it is sneaky, but does a good job at the same time.

This one looks like it won't talk much.

This one looks authoritative.

You can see these personalities at first glance

and whether you can accept these differences

would be very important in character design.

Therefore,

today, we're going to talk about

how to put it into our design.

Let's go back to the beginning.

Should design be complex?

I don't think so.

Of course, if you are drawing concept art,

and prepare a portfolio,

it's good to draw it in detail, when you make a portfolio.

A portfolio shows

that you can depict things in detail.

So, you would need to have detailed drawings for it.

But, other than that, it's not necessary.

Then what do you need?

It doesn't have to be complicated.

But there's one thing you need instead.

It's tempo adjustment.

Some people say it's about controlling strengths and weaknesses.

Some people talk about the rhythm of the design.

What are these strengths and weaknesses?

Even if the design is widely spread,

there needs to be a point where we can focus.

Let's talk about the three elements of the illustration again.

Point, line, and plane.

The planes are what determine the overall first impression.

How do the clothes look?

Is the middle area hollowed out?

Or are there a lot of accessories?

Are the clothes spread out?

Or do they stick to the character?

The overall plane arrangement

decides the character's first impression.

Now, the linear elements

induce the gaze.

And if there are points,

the gaze would stop there.

Let's look at an example.

If we're looking at this character on the left,

our eyes would follow the black areas

and our gaze would stop

at the skin area in the middle.

And the parts where the eyes stop,

you can assign parts

to show off your character's sexiness.

It's an element to make

the overall impression of the character sexy.

Or the one on the right side,

I'm going to place the key elements in between,

to make it easy to focus.

You can design a nice illustration,

through linear elements

and point elements.

That means, these point elements,

it'd be good if you can focus more on them compared to other things.

Let's say there are detailed designs in this part.

It has complicated designs.

Then it needs to be a lot more complicated than it is now.

Otherwise, although it's an item that needs to draw attention,

it can't play that role.

So, it's only a relative thing.

The more complicated this side is, the more complicated it has to be.

If it looked simple,

this much is fine.

So what's important about design is,

it doesn't have to be complicated.

If it's a complicated section,

place fewer elements where you want the eyes to take a break.

It's very important to control the strengths and weaknesses.

There are a lot of interesting designs that use this.

If you look at well-designed illustrations,

if you observe the strong and weak elements,

you'll be able to see some pretty interesting illustrations.

To give an example of weakness,

for this one, the middle part...

if they were all black,

it wouldn't be too bad, but it could have looked a bit bland.

I'm going to change this area to skin.

And you can place elements that are used for dolls on the skin.

It looks like it was broken.

And by giving a strong impression in the center,

it arranges the section that draws attention to the design.

I'm going to use that to add more flavor to my illustration.

This is the control of strength and weakness.

What you need is your charm.

In the end, the character that you drew

needs to be able to approach people in a charming way.

For those who want to work in the field,

it should be commercially popular.

It's a selling point.

Can you actually sell this?

People often ask me if I can sell it for money.

Then, where does its charm come from?

There can be a lot of things.

Where can we find charm?

It's going to be connected with an important point.

Charm is very important.

If the answer for both is charm,

where will this charm come from?

Should it just look pretty?

Or is it the setting?

Colors can be a part of the visual elements.

There could be a lot of things like that.

Actually, all of these are included.

It's important how well the combination works,

using all of them.

Of course, it has to look pretty,

and the setting,

how much the character design shows personality

when it comes to showing off your charm,

it plays an important role.

Then what should we do

to put this setting

in that pretty visual element?

In a way, it could be very simple.

It's a story.

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In the end, the story

means that you need to be able to put it in the visual element.

Let's draw this and talk about it.

I think it's going to contain a very majestic story,

but it's not such a big deal.

Here's a simple-looking wizard.

Today, we're going to adjust this around,

and put it in a unique style.

The charm that I mentioned earlier,

we are going through the way to expresss it intensively.

I'm going to talk about it from now on.

In the previous lecture, we were talking about

the gaze and silhouettes.

How to draw hair lumps.

How the wind blows.

We learned these things.

So, by using those,

in this class we will learn how to apply them.

Let's use them to decorate this.

I copied and pasted the character.

Let's take a look at it part by part.

Just in case, let's make the screen bigger.

First of all,

I said give it a story.

Let's find out exactly what story means.

The story seems really majestic.

But to be honest, it's nothing.

This is a normal wizard now.

Let's add the story here.

How do you put it in?

Let's look at the character's universe.

For example, this character

Let's go for an alternate historical background first.

Let's say it's a fantasy,

or science fiction.

Depending on what it is, the design will change a lot.

For example, this has

a science-fantasy like design that we can see often

in mobile games these days.

If it's a science-fantasy design,

how will it change?

For example,

the character's wand could be more mechanical.

Because the crystal ball

in the middle looks like it's for fantasy settings.

We could replace it with a small jewel

to make it look like it's from a science-fantasy game.

Or, because it's in a science-fantasy setting, we can place belts around it.

Because the trend these days is techwear.

You can change the clothing

so that it looks like techwear.

Or, this is something used for fantasy too, but,

we can also use it here because it is casual style.

You can make the inside of the hair shine.

What pops into your mind when we say there's a sci-fi magician?

You could draw drones.

Usually, wizards speak in European languages.

Because it's in a sci-fi setting, you can draw drones

that look futuristic.

Things that look like this,

or two of the same things are going around,

or you can give the two drones personality,

to change the design.

While doing one more sci-fi thing,

I can add more elements.

I did some details with the wand,

and there's a techwear bracelet on the arm,

or drones in the back,

so, with this kind of concept,

there will be more elements for the character.

Let's use the ones that are attractive only.

You will be able to add to your character's own charm.

So when you go into the design, the story part,

the more I think about it,

you can add a lot of charm to it.

How should I study to think about things like this?

Let's talk about it briefly.

It's a thought process.

Like a word chain game, keep saying the words that come to mind.

There was a game like this in the past.

If you go to a convenience store, there are... and...

Similar to that, I thought of sci-fi.

What could you come up with when it comes to science fiction?

A mechanical wand.

What else?

Drones.

There's something else called techwear.

What else could come up?

If there are numbers and symbols, it seems like sci-fi.

For example, like this,

or something like this.

I don't know why, but there are four or one in there.

If you have that, it can be sci-fi-like.

There are point colors,

and shiny items,

luminous items that are rare in real life.

Or you can use metal.

What else is there when it comes to science fiction?

That's how you should think about it.

The more you can write it down,

the more it will help you design.

Then this is the first one.

The first way was to apply the story.

Now let's dig into the details.

There are points, lines, and planes.

Let's think about planes first.

I'm going to apply my personality to this character.

The personality that came out after the story,

I'm going to put it in.

This character has a calm impression.

For the first time, I'm going to play a calm character.

Let's move on.

Being calm and the position that comes out of the game is

not like the final boss.

It would be a wizard

who's just finished their apprenticeship

and was hired as a new recruit.

Let's design it like that.

When we learned about the silhouette in the previous lecture,

remember triangle, diamond, 8-shaped compositions. We learned about them a lot.

What was the one that gives you a calm impression?

It was a triangle.

Then, we are going to apply a triangle silhouette

to the character's outfit,

but if it looks too calm,

it may look like a great wizard.

With a long white beard,

it will look as if it's going to use sophisticated magic.

So, let's avoid using the triangular silhouette.

Then what should we do?

Let's mix triangles and diamonds.

Let's move on.

I'm going to make the outfit on this arm float a bit more.

Previously, I told you that with clothes,

it's better to make

long hands.

Talking about deformers,

if you want to prepare something like concept art,

there's one thing you have to think about at this stage.

When you work on concept art,

depending on the specifications of the game you're going to work on,

there are a lot of times when you can't work on the design.

For example, this design right now,

if you look at it in 3D, it's a skirt,

but there are a lot of areas where the sleeves overlap.

You might need to change the design.

If it's overlapped, when you observe it in the game,

it makes it look awkward.

Or your arms can go through your body,

or whenever the character moves their arm, the skirt may be lifted.

It ends up flipping a lot.

I'm sure people who play games have experienced this before.

Some items are restricted so that you can't do that.

If you're studying for an examination for concept art,

when it comes to the specifications of the game,

It's good to remember the parts that you can't express.

It's hard to express the see-through style.

Or items that have a lot of layers.

Or if the design is too flat and you just put in the pattern,

sometimes it may look ugly in 3D.

It'll be even better

if you think about a lot of items with limitations.

Let's keep going.

Let's change our facial expressions a little bit.

So to make it a bit calmer than now,

when we have the word 'calm' in mind,

and when we ask ourselves if it's closer to being cute or pretty,

being calm would be closer to being pretty.

This is a quick review with faces.

When we want to draw a beautiful face,

we need to add detail to the facial features.

I'm going to depict the eyelashes.

To make the first impression look pretty,

retouch the eye area a bit more.

I think it'd be good if there was a cute element, too.

The hairband will add to that part.

I'll put one in.

I'll make the silhouette as wide as possible,

to increase the casualness.

I'm going to add the silhouette of the hair.

Overall, it's a triangle silhouette

and a diamond silhouette,

The character has a more wizard-like vibe.

You'll be able to see that it's getting closer.

Compared to the existing complete apprenticeship wizard,

it looks like a wizard with a certain level.

If you are done up to here,

we've cleared the first assignment I wanted to go through.

I wanted to make the hat a little longer,

and raise the level.

Let's fix the silhouette of the weapon now.

As I said before, I want to upgrade the level.

It'd be nice if the weapon looks heavy.

From here, it's good to refer to references,

such as illustration materials.

It might be better to refer to those things.

I'm filming a class video right now.

So I can't look at the references.

You students are not filming, so take a look at the references.

Feel free to use them.

But this is sci-fi.

It's the only concept we have.

It's going to be hard to give it a unique design.

Then should I add one more setting?

Let's go back to that point.

What kind of setting can we apply to it?

We put the numbers in.. What else comes to mind when you think of numbers?

You can give

an experiment-like vibe to it.

I came up with a calm character.

While thinking of a calm character,

If I can give the impression of a laboratory,

is it going to be a bit dark?

I don't want to make it look dark.

You may just put an animal in it.

Sharks,

or another animal,

or plants and fruits,

they're very unique items.

With this alternate history, these items...

In other words, if there's a strong point to the design,

the character's design brings out its identity.

I'm going to put an element to this character.

Let's put in a shark.

I can make the side blue,

but if I were to put in a conceptual shark,

you can change the form of the shark's mouth like this.

Except for the belt here,

you can make it into an eye shape,

or in this section, you can put shark teeth,

or you can make the character's teeth sharp.

Other than that,

maybe make a headband which looks like the shape of a shark.

With the concept of the shark,

design elements that can be used for characters that have already been added.

The reason why I think about the story is to use the elements of design,

in a variety of things.

Moreover,

by using the plane elements that we saw earlier,

the character's identity is increasing more and more.

Let's do the drones parting around us like fish.

Because the character has a shark concept, the drones can look like flying fish.

A flying fish...

So change the design of the wand here,

apply the shape of a shark's teeth,

or you can put a fin on the back.

By using the concept of a shark,

we're going to keep adding something.

But the silhouette information that I mentioned earlier,

while maintaining the shape of a diamond in the triangle,

and since it's a calm setting, the overall silhouette

isn't sharp and it doesn't stick out a lot.

Don't go like this at the end.

If it sticks out, it makes it look aggressive.

It'd be nice to reduce those parts little by little.

Let's reduce it bit by bit.

So we've handled the planes from among the points, lines, and planes.

Let's look at the points and the lines,

Let's think about the section where we need to focus our attention.

People will see the face and the hat.

And they are going to come down to the center and spread out on both sides.

Along the sleeve,

with the gaze that widened like that,

the legs will be separated a little bit.

It's separated,

so this is a separate part.

Then choose the section

where you want people to focus their attention.

Choose the section where you want to

draw the viewer's attention beforehand.

Do we want people to pay attention to the shoulders?

Since you put these letters in, it'd be nice if they pay attention to them.

We need to draw attention to the weapon design, too.

Do you want people to look at the legs a little bit,

but not the feet?

Or if people never pay attention to the part you wanted,

then let's adjust it accordingly.

In the section where people should look at first,

we're going to use a point color that's more visible.

When designing, things like black and white,

they're not exactly considered as colors.

We literally say they are achromatic.

Since it's not colored, it's achromatic.

Since these are achromatic colors,

just with the detailed design,

compared to other places,

It also plays a role as a point.

Like this, in the section you wanted,

you can arrange it so that people pay attention to it.

If you want people to look

at the legs a little bit,

add gradation like this.

If there's a gradation,

it will be more visible than before.

And I want the wand part to be seen clearly.

Then by adding a point color,

or a linear element,

that will draw attention to this side,

for example, an effect.

If this effect is coming out here,

it'll catch people's eyes.

By using these kinds of things,

we are making a point where we can concentrate

on this character.

Apply it on the feet just a little bit.

Since it's awkward if you only use the top part,

I'm going to apply it on the bottom as well.

We didn't want to focus on the feet.

So I'm going to add just a little bit.

What else can we do?

Since it's a shark,

you can put the tail in,

or you can draw the shape of the teeth on the clothes.

It's the thinking process again, the shark thing that keeps coming to mind.

The teeth, pointed eyes, flying fish,

and the tail,

it all came to mind from there.

That's the way you make up the design.

Let's take a look at before and after.

Before,

and after.

The character is definitely

more unique.

Between the first impression of the character on the left,

and the first impression of the character on the right,

the two feel different.

The one with the intense first impression will be the one on the left.

When you look at the game character,

I told you that you need to feel

what kind of charm this character has.

So, when we say that,

the character with a first impression so strong

that we can predict its personality

and actions

would be the one on the left.

So when you design it, like this,

put in the story,

and adjust the silhouette according to the personality,

or adjust points, lines, and planes,

by drawing people's attention,

use all the things we've learned so far.

So it's important to use those things to organize it.

In a way, this is what I wanted to say today.

And it's the most important part.

This part would be related to creating the universe of the story, as I mentioned before.

The ability to write a story,

for those who practice concept art,

can be a very important thing.

For those who draw fan art,

you don't have to pay much attention to it.

Why is this important for people who draw concept art?

If you work in the concept art field,

you could be the director of the art team.

Although you could turn into a freelancer later on,

either way,

some of you may want to be a leader.

For those people, this ability is especially important.

The ability to imagine the entire scene while creating a universe,

something that the viewers can understand,

the ability to form that kind of universe itself

in a way, from the perspective of an art designer,

it's a skill that is emphasized a lot in the field.

It's one of my personal episodes, but,

a long time ago, someone asked me

to be their company's art director.

Their content provider told me that

because they think I can create a universe

they felt that

I would be a suitable art director.

When I heard that, I realized that

that kind of skill would be important for character designers.

So, people should be accepting of your designs

and you should be able to put what you want into the designs.

I began to think that these two things are important,

and I wanted to emphasize them to students.

So, let's design characters once more.

Because doing just one example is a bit boring.

what should we do next?

We're going to make different settings.

What can you think up?

If you're just watching this lecture, imagine

what you can add to this character in your head.

I previously made a sci-fi character, so I'll make a character from a fantasy setting.

I'm going to draw a fantasy character.

But, how should I do this?

We just created fish, remember.

So, I'm thinking of a mobile game

where underwater creatures were the main concept.

With these mobile games

that are set in a deep sea background,

the contrast of black and white is evident,

and there was a strong

point color.

There were a lot of characters

with extremely white skin color

or with very lowly saturated skin colors.

I think those designs are unique.

So, let's apply

the underwater setting.

I'd like to tell you that it's good to practice design as much as you can.

It's kind of sad that I have to tell you

to practice as much as you can.

But that's the reality.

So, if you have experience,

there are more things that you can draw.

That's why you need to practice with many different examples.

First, I'm going to lower the overall saturation.

I'll make the black robes into white robes.

I'm going to create a mad character

which is very different from the previous calm character.

But, the key color will be the same.

The key colors would still be

the mint color and the blue color

that I used previously.

I'll make the character into a mad character.

Because we need to practice with different examples.

Let's modify the facial expressions first.

To create a strong impression with the eyes as well,

I'll detail them more, unlike when it was a calm and pretty one.

Then, the eyes would be emphasized.

Let's draw sharp teeth.

I think putting in dark circles would be good, too.

With the overall silhouette,

the previous one had a triangular one.

For the one we're using now,

we don't have to use a triangular silhouette to give a calm impression.

So, let's change the design starting with the sleeves

to make a diamond-shaped robe.

I'll open this area

to make the robe lighter.

It's good to change the pose, too.

When we're designing,

even the postures

have a huge impact on the character's first impression.

So, when you're practicing alone,

it will be good to

control everything and practice.

Let's make the hair pointy

to show the character's temper.

The overall silhouette will be very pointy.

Let's pause a bit and talk about the silhouette.

What is the silhouette?

Let's go over it once more.

I covered it last time,

but there's no harm in knowing this.

In the end, it's this.

If it's sharp, it gives a sharp impression.

If it's square, it'll make a strong impression on the character.

If it's round, it'll make a cute impression.

If it's curved, it'll make a flexible impression.

That's how it works.

What's important is how it's combined,

and maintained.

What I'm saying right now is

this character is a bit sharp,

but with a loose sharpness.

It's a bit cranky, but it's usually quiet.

It feels like it lacks sleep,

it gives that kind of impression.

It's not a very sharp silhouette.

It's kind of sharp, but it maintains a somewhat loose feeling.

So it can go in with the same silhouette.

And if there's a part that breaks the silhouette,

or if there's a part where it's slightly off,

we need to check out whether we can apply these silhouettes

to those sections or not.

For example, even a hat like this,

we look down at the end of the hat,

or I said it will be a droopy silhouette.

So that you can feel that,

you can draw it droopy like this way down.

In every single detail,

We're going to use the drooping silhouette.

I'll loosen up one side like this,

so that you can include these settings, too

and I'm going to rip off the end of the outfit.

The material setting of the outfit is also

one of the important things that you can set up.

It's good to use it together.

It's not that difficult.

If the character is a bit dark,

you may tear the edges apart,

or if you're a strong character, you can make the outfit thicker.

It's like that.

I tried to use fantasy settings.

Don't use too much techwear or things like that.

But there's one thing you can use instead.

I can't use it in sci-fi,

but it's something that can be used in fantasy effectively.

Curved metals.

Why can't I use it in sci-fi?

It's simple, it has a strong fantasy vibe.

So the curved metal is

the exclusive property of fantasy characters.

It's an element that I like, too.

I can't use it when I draw sci-fi characters as well.

It's one of the items that I can't use in sci-fi.

First of all,

I think it'll be good to show the arms like this.

To show a somewhat violent personality,

the normal arm warmers have a very calm impression.

I'll change them to a half glove.

Adjust it to make the character look violent.

And I'm going to change the design of the skirt.

Which one would be good?

If you cover it up like this, the character becomes too calm.

It's a bit different from what I want to do now.

Therefore, I'm going to make it wider.

And as expected,

you have to tear the ends a bit to maintain the character's impression.

These days, even if it's fantasy,

there are a lot of fusion styles of fantasy.

Fantasy with a bit of sci-fi.

So, as time goes by,

it's not like we're preparing a portfolio for fantasy.

These days, people often prepare a lot for science fiction.

The actual number of outsourced orders is also increasing for sci-fi.

So, there are students

who are into fantasy only.

It's sad, but it's time for you to prepare for sci-fi.

I think it's a good decision.

On the other hand, if you're interested in science fiction only,

or you are not into fantasy at all,

those of you who are doing that,

I recommend you

to work on this side, too.

You'll use it someday.

You'll use it someday and you'll have to study various fields,

so you can do it from the other side.

There's something like this.

You can improvise in drawing female characters

and by drawing muscular male characters.

And by studying perspective from a background,

you can make a character more three-dimensional.

Likewise, improving in one area can help with the other areas.

You can use round metals for this character.

Again, we want to make the gaze focus

on this area.

I think placing a belt around this character

would be fine.

But, this pocket makes the character look like

it's from a rural village, not the deep sea.

So, let's delete this.

What else can we do?

If we're creating a character from under the sea,

you can also use teeth.

But, we already drew in teeth for the shark.

Now, let's create a different mood.

I'll make the center of the hat black.

I'll also add the teeth here.

The hat would droop down compared to the one on the left.

Alternatively, we can make a hat

that goes upwards.

I'll make the head droop down.

Some deep sea fish use bait.

So, this character could

look just like that.

We can add more teeth to this area.

These fractured designs

are also characteristics of deep sea characters.

So, let's use these elements as well.

You could add black veins to the side.

To describe the character's personalities more in detail,

because the previous boots had a calm silhouette,

let's draw boots that stick together and are pointing upwards.

The important thing is the silhouette.

Because it's a silhouette that goes generally upwards,

it would be much less calm than the previous one.

If we use the creatures, too,

because we used drones on the left,

remember how this character's a fantasy character?

Then, instead of machine parts,

creatures would be much more adequate.

Because it would be good to draw a monstrous character,

like this,

we can draw something like Cthulhu.

If you don't know what it is, search for it.

It may look like I'm just drawing,

but actually, I'm drawing the teeth.

They look a bit gross, but still,

I can add eyes like this.

And if we change the design of the wand like that,

it should be curved

because we're going for a fantasy setting instead of a sci-fi setting.

To give a fantasy vibe,

curved silhouettes would be better than linear ones.

Accordingly,

I'll do it like this,

or design it like this,

with the same character,

the design can change this much.

From the same character on the right,

the design of the characters on the left and the center,

becomes definitely different.

That's how you look at the process and we call it a variation.

When it comes to variations,

with the same concept, we're increasing the amount of design.

For example, if this is 1, 2,

1-2 and 1-3, that's what we're going to do.

In a way, these things,

belong to a wide variation.

According to the settings you want,

depending on your personality and story,

by adjusting it, you keep increasing the amount.

If you increase the amount, it becomes a pattern.

It's your data.

It will be used for the actual performance.

So I hope you build up as many things as possible.

It's good to practice.

If you're going to follow me through this process,

I hope you design one.

You don't have to be so detailed.

It's enough to be like the character on the right.

It's okay to have a simple design like this.

Let's make it pretty in your eyes.

I hope you try to give it a sense of storytelling.

I hope you make a design like that.

What I designed today is

going to be used later on,

to continue with the illustration work.

I need to think about which one would be better.

Let's wrap this up.

Today, we had a time to study design.

What's important about design is,

first, it doesn't have to be complicated.

Instead, by using the tempo control,

it's better to divide the concentration section.

Check if it's a clear section

that draws attention from these designs, later on.

Check out the designs you've done yourself.

There are certain parts that draw attention.

That's how you control your strength.

So you can be a good design.

Of course, there's a need for some detail in the process.

For those who are preparing for the portfolio,

it's good to practice in detail, too.

What's important about design?

The most important thing is charm.

But there are so many things that create that charm.

The silhouette itself can be charming,

if the character just looks pretty,

or if it has a pretty face, that's part of the design.

It's also important how attractive the character looks.

I didn't tell you before.

When I was in the process of designing,

the color of the character's skin color

changed a little bit.

Even the skin color is part of the design.

We're not designing outfits,

but a character design.

The color of this character's skin is strong.

Why is the saturation low?

Yellow, red, or black?

Depending on these things,

the character's impression changes.

We get into the design by adjusting each one of them.

How do you practice this?

Variation.

Based on the same character,

the story that

you imagined,

I hope you think about it and add more stories to your thoughts.

By adding some settings,

checking the conditions compared to what you imagined,

or whether people interpret it the same way,

keep testing those things.

It's important to practice the design.

The quantity matters in design. The more you try, the more experience you get.

That becomes your own know-how.

So, I can't help this part. We just have to draw a lot.

Especially for those who thought that design was difficult,

I hope you think about that today.

I talked about a lot of things today.

To be honest, I just decorated my wizard character

according to my taste.

I just added the settings that I wanted to add.

And there's a little theory added to it.

So I recommend that you try it without being scared off.

That's all for today.

Next time, by using this,

let's draw an illustration.

Of course, we will go through the subject of light before that.

See you in the next class.