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Hello.

I dubbed in today's lecture

after recording it.

Previously, when I described full illustrations,

to show you a lot of descriptions,

I thought it wasn't enough

within the limited time of an hour.

Actually, this video was for 2 hours.

But I doubled the speed.

The current video is dubbed.

I added my voice to it to match the runtime.

If you want to see the descriptions at normal speed,

you can play this video at 0.5 times speed.

If you turn off the sound and play it at 0.5x speed,

you can see the video

at my normal work pace.

If you want to use it when you study, you can watch it like that.

Today,

with the portrait illustration that I worked on,

I'm going to add details to it.

The key to this illustration is to create a sentimental mood.

I think it's better to express this with tertiary colors.

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That's going to be the key.

So that the overall contrast is not too strong,

it's important to be careful.

Portrait illustration is a standing illustration.

The character itself is the main feature.

Since there's no background,

the character has some dimensional effect.

A Form Shadow will help with the three-dimensional effect.

I'll focus more on those parts.

I'm going to make sure I can do the coloring.

Remember Occlusion Shadow?

It shows the parts that are far apart from each other.

When you mix the tertiary colors in between,

look at it in black and white.

So that there's nothing wrong with the tone.

It's important to move on.

I usually use a Hard Brush when I draw.

In this case, for each person who uses it,

it depends on your preference.

I prefer Hard Brushes.

So I use them.

The reason is,

they're sticky.

I only use it like this because I like the sticky feeling.

If you're adding gradation,

since I'm using a Hard Brush,

if it leaves a lot of marks and if it's kind of shabby...

For those who have dirty touches on there,

it's a way to control your touch, but use an Air Brush

to do it more comfortably.

Whatever your process is,

if the results come out well,

it's all good.

You have to keep finding what makes you comfortable.

I'll continue to put in Form Shadow.

There's the description.

When describing the hair's texture,

be careful that it doesn't become too regular.

That's the point.

In the worst case scenario,

it comes out regularly.

Hair, or grass,

when you place these natural objects,

please be careful not to make them too regular.

For border colors,

I'm going to make the tertiary color red for the skin.

I placed them.

My character's skin is in a low saturation now,

but since it's skin,

and it has a reddish image,

when I apply the tertiary colors,

I think it's better to apply red more than in other places.

It'll make it look more natural.

For other places,

when you apply tertiary colors,

the bright parts are turquoise or sky blue, which have a high natural brightness.

So these colors are applied.

For the dark areas and the areas that are on the border,

navy and blue which have relatively low-specific brightness.

It would be nice to use these colors.

The same goes for purple.

Recently, there are a lot of portrait illustrations.

See "Arknights", "Alchemy Stars", and "Girls' Frontline"

"Azur Lane" and so on, for example.

You'll be able to see them in various games like "Epic Seven".

The illustrations from these games

is very different in terms of quality.

And depending on the artist's drawing style,

the style changes a lot.

So, for the description itself,

there's nothing in particular that's decided.

That's true, but later on, people who work on

portrait illustration usually...

In order to be hired later on,

I think you'll have to make a portfolio.

So you can make it and submit it to the company.

Or you can upload it on the internet

to show that you're available for work.

So, when I do this kind of illustration for students,

most of the time, I recommend that they describe it a lot

before proceeding with it.

As I said before,

description is not an essential part of drawing.

It's an additional element that decorates the picture.

But to show that I can do various things,

it's meaningful.

Don't forget to separate

Cast Shadow and Form Shadow.

When you put in Cast Shadow,

make sure it

doesn't get double-layered.

Let's be careful not to use the same color

for the Cast Shadow and Form Shadow.

With the Cast Shadow, which is the shadow between objects,

the contrast is a bit stronger.

You need to add Cast Shadow in a darker tone.

For Form Shadow, it's better to use a brighter tone.

It's more natural.

On the hair side, I'll use Occlusion Shadow.

The sides and front hair clearly show the distance.

Please show clearly

the distribution of these major parts.

And add some texture to it.

I'll add some bangs here and there.

If the hair has irregularity,

as I said before, it can be the kind of hair

where it doesn't work out regularly.

I'll apply Form Shadow on the edges of the hair.

Now, the Occlusion Shadow is formed around

the hair and the teeth at the back.

Don't forget to put these in.

If possible, when you're doing the description,

just complete it partially.

Before moving on,

let's raise the overall quality.

Carve it partially.

After doing that,

let's take one more time to adjust the overall balance.

After that, let's go through the details.

Then, I'll balance them out.

It's good to repeat the process.

So, now it's done at once.

It's not the end.

Repeat this several times.

Is there anything wrong with your drawing?

Check that out.

I used pink for the border of the eye area, too.

There's a lot of blue in the other sections,

so if you use pink,

that part will be the highlight.

The eyes of the character

is one of the most important parts.

Pink on the borderline.

I'm going to use cool and warm color contrasts.

I'll make this part the main point.

The highlight of the hair,

I'm going to put it in the middle

since it's the area that receives the most light.

You'll be able to see the part where I'm adding a bit of saturation.

If there's an area with low saturation and an area with high saturation,

because it's more important than the other areas,

it will be good to use it as the highlight.

In the description stage,

it takes a lot of time.

It's a part that requires perseverence

for the people who work on it.

There's one thing I want to say to you.

For those who haven't described much before,

some people have a hard time

to keep drawing a piece for more than an hour.

For those who especially focus on drawing

and haven't done much coloring,

normally, drawing takes an hour per work even if you draw a lot,

so at this stage of description,

I'm sure a lot of people feel that

they are a bit impatient.

There is nothing I can do to help that.

In this case, just work on a piece

for two weeks,

or for 7 hours a day.

Hold on to the picture and try your best.

Increase your drawing time,

and it will be good to get used to it.

And when you get used to it,

you can do very detailed work.

Even with something less detailed,

you can draw it much better.

Similar to that,

with drawing, it's kind of one-sided.

There are times when only one side helps.

One of them is to increase the amount of time you're working.

Of course, working on something quickly,

it would be nice to get used to that, too.

But you have to try at least once

the process of describing it clearly

by increasing your work time.

You should know how to describe things first

and then shorten the time that it takes.

You should learn how to draw faster.

You should try,

even with detailed description.

For those who draw illustrations for the first time,

there are times when the time spent on one piece

takes about a month.

For those who are taking classes,

and getting some feedback,

it will feel like it takes a month.

So, if your hands are too slow when you work,

rather than being sad, work on something more detailed.

It speeds up the drawing process.

Please keep that in mind.

If you look at the metal area,

you'll be able to see that the base is dark.

Rather than the white outfits.

It's also the contrast of the metal itself.

It's bigger than the white ones.

Comparing materials such as

hair, outfit, and skin,

the contrast is a bit bigger.

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Because of the high reflectance,

you can see that the base tone is darker

so the part where the light is applied can be brightened up.

I'm going to keep the Occlusion Shadow for the hair.

Occlusion Shadow is excellent for raising the quality.

Let's focus on it.

On the back of the hat,

I'll add the Form Shadow.

When I do description,

I work on it

when it's a bit dark.

What I'm saying is,

I edit it later and use

Overlay or Multiply.

When I work on that,

and if the base tone color is set too high,

there are times when it doesn't match up when you apply it later on.

So to reduce that,

I use a lower tone until the coloring is done.

Let's make it a bit dark.

Later, when editing,

I tend to work on it while

brightening up the dark areas.

Of course, this is the style that I usually work with.

It's not fixed.

That was more comfortable for me.

I'm continuing to describe it.

In this curriculum,

we learned how to draw characters.

And using that character,

we learned how to organize the screen.

And by using it,

we worked on examples of practical illustrations.

We approached it with two examples.

Full illustration, and portrait illustration.

In fact, most of the time,

if we continue with this,

I think it's possible

to work in many styles.

That's true, but during this curriculum,

I'm sure there are things that I haven't covered.

Of course,

there are 20 chapters

in this curriculum.

But, to explain all the theories of drawing,

it's enough time.

So I'm sure there are students

who don't know some parts yet.

I'm sure there are some things you want to study more about.

In this video, what I wanted to say the most

to my students is

to have a different perception

about studying.

Especially with drawing studies,

it's important that we strengthen our skills.

So, it's important that you draw well in the future.

In a way, what you're good at right now is

not that important.

Of course, if you do it as a hobby, it's different.

But, say you want to be hired to work.

In other words, if you get a job later on,

for those who want to be in outsourcing,

if you look at it,

the time when you first become a professional illustrator

could be the time when you need my skills.

I'm sure your skills will continue to improve after that,

but when you first get your job as a professional,

it would be more practical.

Based on that,

drawing is like a long journey in the end.

As you're studying illustration in the long run,

you need to change your perception.

You need to know what illustration is all about.

You should know how to use references.

When it comes to composing, find out how it's done.

How would you approach studying anatomy?

How should you approach character design?

Teaching you these approaches

was what I wanted to

include the most in this curriculum.

So, when setting my target audience for this class,

I thought it would be best for novice students to take it.

Of course, the content that's in it

related very much to the actual drawing part.

So it could have been a bit difficult for some of you,

but you don't have to learn everything right away.

Based on your long-term goals,

even for those who are drawing for the first time,

when you study drawing,

the things that I told you,

including how to illustrate the human body,

remember these things well

and use them when you practice.

It'll increase the efficiency in the future.

That means that you're strengthening your skills.

When you go along the path as an illustrator,

if you apply the things you learned,

you can make it become some sort of a vehicle.

Rather than walking, it's better to go by car.

It's much faster for when you're going long distances.

Now, for the contrast with the metal,

you can see that I'm painting in big strokes.

It's good to watch carefully

and look at the pictures in small pieces.

You should check

if the overall balance is set well.

It's good to either shrink it

or put a small screen on the left side.

That will be good.

The Window menu on the top.

For Photoshop,

if you click [Window],

there will be the [Arrange] menu.

If you go to [Window]-[Arrange],

from there, go to [New Window for..].

It'll be at the bottom like this.

If you press that,

you can see your work

in a small size.

You can put this on the side.

Or, you can just use the Navigator Tool,

which helps you with the overall process.

Personally, I don't really use

the Navigator Tool

because there's a square red line.

You can use it according to your preferences.

The teeth also have high contrast, so

I'll add highlights.

Let's set the contrast to be

weaker than metal and then apply it.

Actually, today,

because it's actually a 2-hour-long video,

I compressed it and made it into an hour.

It's a 2-hour-long video,

so it's going to be hard to finish the drawing.

I won't finish it.

This video was produced

to capture the flow of my work,

and to show you how I do description.

As I said before, for description,

there's no specific method.

Until you say it's done,

it's important to keep improving the quality.

In the past, when it came to details,

I heard someone say this...

The details get higher in quality as you invest more time.

If I put in 10 hours, the quality will be equal to 10 hours.

If it takes 20 hours, the quality will be equal to 20 hours.

The quality can continue to improve.

But, I'll say that it's not about quality, but completeness.

The level of perfection can go up.

But when it comes to drawing, the quality and the completeness...

Some people think they are different.

You might ask what the difference is.

The completeness of the painting is literally

how neat the description is.

The quality of the drawing would be how good the thought process was.

It also means how detailed the composition was.

It's about how eye-catching it is

and how well everything is naturally connected.

In terms of color, the coloring,

the color combination, the lighting

and how it's done, that determines the quality.

That's what I think.

So, what we have to put into the drawing is

supposed to be high quality.

If you can raise the quality to a certain extent,

to be honest, completeness

is just about painting it neatly.

Depending on the time spent,

you can consider the results to be a little different.

So, when drawing,

you should invest a lot of time

to increase the level of perfection.

Repeat this process a few times,

and in the process,

you'll get rid of unnecessary processes

later on.

When removing it,

you'll be a bit faster,

and you'll be able to raise your quality quickly.

In the end, this means

you can imagine

what your illustration will look like

when it's finished.

The more you can predict it,

without unnecessary touches,

you can use touches that are optimized for your work,

and you can finish the illustration.

It also simply means

you can draw with a drawing tablet.

The top part is bright and the bottom part is dark.

It's going to go in like that.

The light itself is

based on what comes out from the face.

As for the belt and skirt,

you have to think of it as the light coming from above.

Light doesn't always hit an object in dimensions,

but in most cases, the source of light

exists as a dot.

So based on that,

you have to think that the light is spreading.

The face closest to the light

is going to be the brightest part of the illustration.

This skirt gets a little further away from there

or the tentacles in the back

these sections

need to be relatively darker.

Of course, that doesn't mean

there should be a huge difference in tone.

When it is a Soft Light,

in other words, if it is light that spreads smoothly,

I'm sure those things will be evident.

But, like the current illustration,

if it's an illustration with strong light,

the difference in the amount of light received from top to bottom

doesn't come out that much.

But there's a difference in the angle.

You have to realize it.

In other words, the face is exposed to the frontal light,

but the chest is getting some light from above.

The skirt receives light from the top.

If you go down like this,

the angle of light changes depending on the area.

What's similar to this?

When it comes to the part where the angle keeps changing,

it's similar to perspective.

If you recognize light through dots,

it's easier to adapt to that kind of change.

When you think of light,

it will help if you

think of the light source as a dot,

rather than thinking of it in dimensions.

Of course, there are some exceptions.

When you go into the tertiary colors,

are there any tips for putting them in nicely?

There were some students who asked me this question.

But as I said before, the tertiary colors

go in so that it looks more three-dimensional.

If the tone is not weird

when you look at it in black and white,

if it goes in naturally,

applying tertiary colors is a very free thing.

You have a lot of freedom,

but, there's a relationship between the colors.

Similar and complementary colors.

We previously went over

complementary colors a bit.

Similar colors are literally colors that are similar.

If there's yellow,

the orange or red ones that are nearby on the color wheel are similar colors.

I think it's good to use them well.

In the end, it makes the color palette more attractive.

It's a way to make the tertiary colors more attractive.

If you want to study more about that area,

you can Google it.

If you search for color palettes

on Google,

you should be able to find some

readily made color palettes.

When you take a look at them,

you can understand

colors more easily.

It's very helpful.

As for the color palette,

there are people who are studying it

as their theme of practice.

This is the part where there's no light

because it's inside.

I will add shadows,

and I will add the creases,

but I won't dig in too deep.

There's already been a shadow.

So unless the creases are in too deep,

I don't really describe it.

Don't forget to add Form Shadow on the outer part.

Occlusion Shadow.

When the distance between objects is close to 0,

it's the dark shadow that goes in.

Don't forget that.

And if you do so, the quality will go up.

When you add the tertiary color,

it's good to use similar and complementary colors.

If you use complementary colors, it stands out a lot.

If you use similar colors,

It doesn't stand out a lot.

It becomes smooth.

Take advantage of it.

I hope this section stands out.

For example, if you look at the mint color area,

which is the point color that goes into the skirt,

you can see that

I used a strong pink for the tertiary color.

It's still simple.

I wanted to show off that side.

I think it's a prettier part

of the skirt design.

I wanted to show the highlight of that section.

On that side, basically,

I used a warm color.

Since blue is used a lot in the illustration,

if you use a warm color like that,

I'm sure you will notice that section.

Using that,

that's how I made that area draw people's attention.

There are a lot of theories applied when drawing.

What about complementary colors? What about point colors?

When it comes to coloring,

there are things like proportion.

In the end, it's all about that.

Depending on the areas you want to show,

you'll control those things.

So, it depends on how you approach it,

it's not really a theoretical approach.

The fact that I did this

just to make the drawing look pretty,

in a way, it can be a good enough reason.

But theory is the the basis of illustrations.

That's why we're studying theory.

If you put in Occlusion Shadow,

the illustration becomes clear.

If the picture becomes clearer, the visibility goes up.

If the visibility goes up, you can see the character well.

From the perspective of the viewers, the character will be pretty.

It can be felt well.

So if you put in Occlusion Shadow,

I told you that the quality of the picture goes up.

That's because, in the end,

Occlusion Shadow makes the picture look clearer.

I made it look better from the perspective of the viewers.

It's not that the Occlusion Shadow itself is important,

but what you gain from it is important.

Students will draw pictures,

and those who are self-taught,

you're going to keep searching for theories.

When you do this,

generally speaking, the illustration will look pretty,

or it will look cute,

or it will look calm.

Among the theories that I mentioned earlier,

there were parts related to the gaze.

The triangular silhouette looks like this.

The diamond silhouette looks like this.

We talked about things like that.

Those things are actually

things I learned on my own.

But after I learned them myself,

I began looking for books.

I read books related to the gaze,

and books related to silhouettes.

When I looked at the content,

some things were the same as I thought.

So, I learned more about theories

as I looked them up.

But what I felt before,

it was the same in the end.

If you've been taking my class,

from the perspective of students,

the theory that I'm talking about,

could be a bit different from what you thought.

There must have been some things that were the same.

For example, if it's round, it looks cute.

If it's sharp, it looks aggressive.

Even if I tell elementary school students this,

most of them have similar responses.

I'm sure we could have thought about it together.

The fact that we can use that in drawings

means that we can learn it in this class.

I keep emphasizing it.

Please change your perception regarding illustrations.

You have to draw with your head.

What your hands do is just outputting.

When it comes to planning and expressing the picture itself,

the most important thing is your head.

I say this to my students.

After drawing all day,

your head needs to hurt.

After you draw,

you need to think about

whether your head or your wrist hurts.

The back of the hat

is a part that protrudes outside.

It's a bit far from the center.

So, I'll make it darker.

The parts that stick out in the middle

are probably one of the parts that receive the most light.

Except for the shadow of the hair itself,

I'm going to make it brighter.

I'll add a Cast Shadow

that goes to the top of the hat.

Since the light is coming from the face,

from the hat's perspective, it will be shining from below.

That's why Cast Shadow looks like that.

I'll accentuate the creases around the hat.

For the creases on clothes,

you may feel that the theory has been reduced a lot.

For the creases on clothes,

I didn't explain it that much.

Actually, that's all.

There are not that many theories about creases.

The theory is just for the three things that I mentioned before.

The X and Y shapes of the creases themselves,

the center of gravity,

and the direction of force.

Other than that, it changes depending on the material.

In fact,

if you touch the clothes, you'll know it immediately.

Stiff clothes, thin clothes,

you can feel it when you touch it.

Other than that,

even the creases on my clothes

are an area where deformers go in.

As expected, this is also about recognition.

The creases on the clothes, too.

It's important to apply deformers

so that it fits your drawing style.

If your drawing style is realistic,

if you think it's a detailed drawing style,

you should try to describe the creases.

The more you do it,

the more your drawing style will look attractive.

But for me, it's totally casual.

I'm a person who draws cute things.

If people like me draw creases on their clothes,

it looks kind of gross.

We should exclude things like that.

I'm going to add Form Shadow for the tentacles in the back.

I'm using a Hard Brush to describe it.

When you put in Form Shadow,

I'll give you a tip.

When you put in Form Shadow,

it's important not to spread it out too much.

We usually say an illustration looks burnt.

When the drawing turns too dark,

or when your skin turns white,

the biggest mistakes that happen

have to do with the Form Shadow.

I'll tell you two important things.

First, Form Shadow is always brighter than Cast Shadow.

I said this before.

The shadow between the objects is a bit darker,

so Form Shadow has a bright tone.

In other words, the dimension that is applied,

it doesn't spin as much as you think.

As for Cast Shadow,

the light is completely blocked.

For Form Shadow, the angle goes around 15 degrees.

That's the Form Shadow.

So it's important to go in little by little.

In terms of color.

And the second important thing is

that the area of Form Shadow isn't as wide as you think.

Form Shadow is

the border between the section

where light comes in and the section where light doesn't come in.

It goes in slightly and

continuously, throughout the illustration.

0, 10, 20, 30, 40

The light doesn't come in order like this.

If the area where the light comes in is 100,

and if the place where there's no light is zero,

in the meantime, in the 50th part,

the Form Shadow goes in there.

That is, Form Shadow

is not widely spread out.

You put them all in at once

on the edges where things go around.

Especially round objects such as

the shoulders and the chest.

If there are parts like that in the outfits,

even in the case of things like that,

it's important to add light and shade to the edges.

In this process,

by applying the form shadow widely,

it looks like it's burning.

It does look 3D,

but things look very artificial,

and that's the kind of problem that often happens.

It happens quite often.

So what's important when you apply Form sSadow is,

not to make it too wide.

These decorations,

there's going to be some distance from the fabric.

You'll see some parts where the casting of the shadow is emphasizing it.

It strengthens the form shadow on the hat,

so the upper part of the character is quite

three-dimensional.

By checking it in black and white,

let's think about the casting shadow

that you might have been missing.

People often miss the casting shadow.

I couldn't help it.

Therefore,

we have to make sure not to miss it.

Finding the casting shadow that we lost,

let's put 1 or 2 each.

If you added casting shadow,

take care of the boundary colors around it.

If you look over here,

the casting shadow changes depending on the teeth shape.

To be exact, depending on the shape of the teeth in the body stockings,

you'll be able to see the shape change little by little.

Let's find out what's important about Cast Shadow.

The Form Shadow mustn't spread widely.

That's what I said.

What's important about Cast Shadow is

you have to understand that

it is something that is added on.

What I'm saying is,

Cast Shadow changes the shape

depending on the object at the bottom,

or the one on the top.

And depending on the angle of light,

it's close to the concept of changing positions.

So if the object on the top is a circle,

of course, the shadow will be round.

But when the object on the top is square,

and the object underneath is a circle,

what would the shadow look like then?

The shadow keeps a square shape.

But,

it's more like it's put on the ball

at the bottom of the circle.

So, on top of the object below,

you can apply the casting shadow

on the top.

The shadow on the tentacles is spinning.

And the reason why it goes outwards is,

because the tentacles on the bottom are round as well,

that's how it's formed.

This is one of the most difficult parts.

Also, measuring the distance between objects and putting them in

is also important in Cast Shadow.

Especially if I have to point out the difficult part,

I want to mention that one.

So, depending on the shape of things below,

the shape of the Cast Shadow changes drastically.

So it's important to go in,

using that section.

Let's check the important parts

of the Form Shadow and Cast Shadow.

What I just said is not just an important point,

but also what you have to care about.

A lot of errors can come up.

Like a case where the illustration burns

due to too much Form Shadow.

Or with Cast Shadow,

if you don't care about the shape of things,

the shape itself may look unnatural.

Especially, out of habit,

there are people who apply the shadows like that.

Especially for those who draw the human body,

when they put light and shadow on the bottom of the chest,

or when they put shadow on the neck,

there are some shapes that they use a lot.

There are people who draw it unconsciously.

Of course, if it's a casual and flat drawing,

it's not that you can't use it.

But that itself is already applied incorrectly.

So, the illustration will come out unnaturally.

So in order to use it more naturally,

you need to recognize it

as an object.

Recognize it as

a three-dimensional object.

Look at what's underneath

and look at the object above.

You need to add shadow as something that goes on top of the object.

Keep going down.

Think of the shape of the round tentacles.

You can see that there are shadows.

Even the things inside...

I'm going to add a little bit of highlight.

I put in the description for the rest of the areas.

Since there's a shadow in that area,

It's important not to make it too dark.

As for the bottom of the chest,

overall, it looks like it's sticking out.

So, you can reduce it to Form Shadow.

From time to time,

there are one or two sections

that you can't help but paint awkwardly.

Because we're human after all.

It's important to fix it

as you continue to do those parts.

In the end, the ability to complete an illustration

is the ability to give feedback on your own illustrations.

It depends on how good it is.

It's called self-feedback, and I've emphasized it before.

The better your self-feedback skills are,

the more the overall completeness of the illustration

can be improved.

Because of that,

for those who draw really well,

even though it's their first time,

there are many people who have that ability.

They can objectively look at their illustrations,

and by analyzing the data of the objectified parts

they can apply it and fix it.

And if you are comfortable with it,

I'm sure we can call it talent.

I think it's a talent.

Actually, that itself,

I don't think it's something you can't have.

But of course, there are differences depending on the individual.

When we first started,

how well you analyzed the data

and how much you could make it your own,

everyone has their own differences.

That's true, but if you know you have to do it,

I think anyone can do it.

Even though the efficiency is different, anyone can do it.

But if someone doesn't tell you to do it,

you won't really do those parts.

When it comes to drawing,

I think your skills will improve as you draw.

But then you might end up drawing stupidly.

There might be people who feel guilty about this.

To be honest,

while drawing your own illustrations,

there are people who think that

their skills will improve by drawing what they want to draw.

Of course, it's not that nothing improved.

Your skills will improve.

You will improve, but you won't necessarily improve quickly.

In the end, illustration is about

observation, analysis, and application.

It goes in stages.

In the end, this part is recognition.

What is an illustration?

Let's take a look at it again.

I'm going to strengthen the Occlusion Shadow.

And the Cast Shadow to the hair.

I'll put it in a little bit

to the areas that are distant.

I'm still trying to describe it.

It's about grit.

In today's description stage, the theoretical content

plays a key role...

I'm almost done expressing 70%.

The remaining 30% will be edited later.

The theories that I'm describing and using now,

they're a repetition of what I did in the beginning.

I'm repeating myself.

The shadow area is basically

the parts where there's no light,

so you'll raise the saturation

when you work on it.

In the process of adding light and shadow, I'll increase the saturation.

I have to lower the brightness a little.

The reason why I do that is,

the tone of the shadow needs to go down,

but this tone

goes down as the brightness goes down and as the saturation goes up.

In order to lower the tone of that area,

I'll adjust the brightness and saturation together.

When you make the saturation strong and the brightness low,

the tone of that area gets lower.

If you want to lower the tone,

to do that, turn the color.

Use a color that has a lower natural brightness.

If you do that,

you'll feel like your tone is going to go down a little bit.

So when you give shadow,

that's how it goes in.

There are three things you need to do.

Changing the color to a darker area,

lowering the brightness, and raising the saturation.

If you do this, you'll get the right color for the shadow.

Of course, it depends on

what the lighting conditions are.

Depending on the lighting conditions and the coloring method,

there are times when it changes.

Those are the basics.

Even with the creature with tentacles at the bottom,

I'm going to make it darker.

And I'm going to add some Form Shadow.

I'm trying to give a strong Form Shadow to this.

Compared to other things, it's a round object.

And those kinds of creatures

need to be three-dimensional

so that it's kind of gross when you look at it.

Let's draw the tentacles, too.

In the current drawing, there are a lot of tentacles like that.

Because of the composition, there are a lot of them.

If you describe them in too much detail,

it'll make the drawing a little gross.

So, I'm going to pay attention to it.

There will be a little light applied

to the deep hollows at the top.

I'm going to use the Occlusion Shadow

to dig deep.

Let's make it look like there's cracks.

Now, I need to work on the lower leg, too

What I'm doing right now,

it's like the 3rd description.

Normally, until it's done,

4th and 5th descriptions will be necessary.

In terms of percentage, I think up to 70%, when I work,

that's what I'm trying to achieve.

By the time the video ends,

it will be 60-70% done.

And,

the 30 percent that follows is the same.

Describe and balance.

It's a repetition of that.

The shadows that might be created by the legs,

I expressed them darkly.

At the boundary of the Cast Shadow,

you'll be able to see it.

Even the way you keep adding tertiary colors.

When you add a tertiary color, please observe it carefully.

When you add a tertiary color, you might accidentally paint that part too dark.

I do that a lot.

As I said before,

As the saturation goes up, the tone goes down.

This is when you couldn't calculate it.

So you have to check it out by looking at the black and white version

to see if the tone is working.

When you get used to it,

the color you'll use to color it in,

if you look at it in black and white, you'll see that it looks like this.

You can start predicting.

In other words,

you can't guess until you do it.

When it becomes brighter than you think,

it's the opposite.

So when you add the tertiary color,

keep observing it in black and white.

Even if it's not the time to add a tertiary color,

keep looking at it in black and white.

It's okay to look at it all the time.

Or, you can make a small new screen.

With the Arrange Tool, I'll make a new one.

It's okay to change it into black and white.

And then let's look at it more often.

The creature near the character's legs

is the part where the gaze would be focused.

It'd be nice if you pay attention to the details in that area.

In the end, the details

should go into the areas where the gaze goes.

Wouldn't it be simpler if you think like this?

The part I want to put in...

In other words, add details to the part you intend to emphasize.

The areas that aren't important in this illustration,

take out the details for the areas that are less important.

If you just hear it, they're simple.

I'm going to edit it now.

I will edit it as a whole.

Using the Overlay function,

I'll brighten up the part that receives light.

Use the basic Hard Brush to work on it,

and if you apply Overlay with an Air Brush,

It will feel like the light is spreading out.

There are times when the drawing is applied smoothly.

Then the quality of the drawing will look much higher.

I'm going to add an Overlay like this.

It feels like I'm balancing again.

When you look at it as a whole,

the middle part needs to be the brightest,

and the edges should be dark.

During the coloring process, that area got a bit weak.

So I made it brighter

by adding the Overlay function in the middle.

As I said before, I worked on balancing things,

and I did it quickly.

If it's balanced, describe it again.

Let's get into it.

The tentacles in the back will also be described

down below.

The more the tentacles fall back,

the darker it will get.

Think about it in your head.

Cast Shadow, tertiary color.

The shadow that I'm giving right now,

is it Cast Shadow or Form Shadow?

Please keep thinking about it.

If you drew an illustration while taking this lecture,

If you drew it yourself,

when you apply shadow to what you drew...

What I'm applying now is Cast Shadow.

What I'm applying now is Form Shadow.

Divide it up and work on it.

Among the Form Shadows,

it's a Form Shadow that's weaker than a thick Form Shadow.

It's okay to think about it to some extent.

But I just divided those two things.

Cast Shadow, Form Shadow.

Please divide those two.

Those two are usually...

Before we can establish a theory,

it's mostly mixed.

That's why some people's drawings become darker.

Once we're done with the description,

one of the characteristics of people who have dark illustrations is

that the color they used for the Cast Shadow,

they use it for the Form Shadow.

Even if it's annoying, please use the Eyedropper tool.

Don't use the same color.

Form Shadow and Cast Shadow

have very different properties.

So if possible, you need to use a new color.

Now, the bottom.

Now I'm going to draw the facial parts of the creature.

The border between the tentacles

is where the viewers need to point their gaze.

Compared to other parts,

you'll be able to see how deep it is.

But why do we have to make people look over there?

It's simple.

The tentacles are in the same color

as that creature over there.

The creature and the character on top of it

are the same color.

Between the character and the creature,

between the creature and the tentacles,

you have to make it darker in between

so that you can see it clearly.

So, the border area

kind of acts as a line.

It's a Form Shadow.

This area and that area are different.

That's what you need to show people.

So, that makes our illustrations

more vivid.

You get more visibility

by making the character stand out.

For all the objects that fell into the bottom,

let's add Cast Shadow.

The description is sad, but it's manual labor.

Illustration can't be done

without it.

Whatever you do, it's manual labor.

Even if you draw it like cel animation, you end up having to do labor.

It's the path you've chosen,

so you have to endure it.

For the tentacles that fell back,

I'm going to use Cast Shadow again.

It's relatively out of the outer part,

so the distance between the tentacles will get closer,

except for the middle part.

You'll be able to see that the Cast Shadow goes in quite deep.

The closer the distance is,

the more the amount of the Cast Shadow will decrease.

But it will get darker.

The closer the distance is,

the more it will get darker.

The Cast Shadow will become smaller.

But the farther away things are,

the wider the Cast Shadow spreads.

The border is scattered and the color is faded.

That's what I said before.

The hair and the tentacles on the back,

because they are far apart,

I'm painting the rear area dark

so that people can see their differences.

The hair in the foreground will be bright.

The tentacles in the background will be dark.

So, I clearly showed the close-range view and the distant view.

The illustration will be more three-dimensional.

You can say that there's depth to it.

The deeper you make the area,

from the viewer's point of view,

the illustration will look wider.

It's safe to say it looks more pleasant.

Put in the borderlines while checking with the black and white.

There's some progress.

Form Shadow.

Since it's the upper tentacle

that goes backwards,

let's make it darker.

I need to show that it fell back.

But if you make it too dark,

it looks like you can see the eyes

at the back of the tentacles.

I'm not going to make it completely black.

And from the back,

we need to distinguish them

with these sharp rocks.

I'm going to keep the color white.

I'm going to maintain it.

But the tone of that section is a bit higher

to the point where it will be darkened.

Draw it so that it goes down.

Add Form Shadow.

Repeat it to the point that you're sick of it.

If you draw an illustration with this much information,

there's another thing you need to keep in mind from time to time.

You need to see if your illustration isn't too heavy.

Casual character illustration is actually,

in a way, when it comes to illustrations,

it's okay to say that it is like fast food.

So, it needs to be light.

You need to be able to look at it comfortably from the perspective of the viewers.

Of course, the illustration that goes into games,

compared to most of them, it's a little

too detailed.

It's a more detailed illustration,

but still, compared to

a classic Renaissance painting,

compared to things like that,

it's definitely a light illustration.

The charm that comes out from light illustrations

is something that fascinates people more.

These days, people don't like detailed illustrations.

Light illustrations are popular.

What's important about that is,

how much information there is in the whole illustration.

I talked about the concept of seasoning food before.

If there's no seasoning, it's savory.

If there's more seasoning, it's salty.

If there's even more seasoning, it's even saltier.

If there's more,

I'll just squeeze it and make it taste good.

Some points are appropriate from time to time.

If you just do that,

illustrations can go anywhere.

Actually, what people like

is a mild taste.

In other words, people tend to like

illustrations with less information.

When you look at it...

So in the process of applying it,

check if there's too much information in your illustration.

It's better to be careful about it.

When it comes to Form Shadows,

it has a huge influence.

The Form Shadow earlier,

the reason why I said it's good to add a little bit of it to the edges...

That's one of the reasons.

If you apply Form Shadows widely,

the amount of light and shade increases.

So, there are more places where you have to look at the difference

between the light areas and the dark areas.

From the perspective of the viewers,

the amount of information will increase.

There's a lot to interpret.

If you look at it, it means that you have to look at the picture

while straining your eyes.

So in the end, it's kind of burdensome.

Regardless of whether it's good or bad,

when it's burdensome,

it won't be very popular.

You need to try and avoid this.

We're not going to complete it today.

I'm going to use a Form Shadow.

Let's move on...

After that, let's edit it

after adding some effects.

If you look at the overall density distribution,

there are a lot of details in the middle.

There aren't that many details around the edges.

There's a tentacle in it,

but they went in big.

In terms of density, the characters and tentacles

are separated.

With detailed characters

and the simple tentacles,

and a bit more crowded background.

So these three things

can be distinguished from each other.

It's an illustration like that.

The density distribution that I did when I drew the full illustration before.

Remember it well.

Is the density distribution high or low?

That's not important.

Make sure that the strong parts go in strongly

and the weak parts go in weakly.

It's important to control the strength and weaknesses.

Now, let's get started

with the background part, too.

As I said before, the background part...

There's almost no description of the tentacles in front of it.

So that it can be distinguished from the tentacles,

the stone fragments in the back,

it's good to make them as small as possible.

Let's divide the density between the two

by making the contrast big and detailed.

To make it as small as possible,

make the particles of the stone smaller.

I'm going to split it a lot.

I'm making a lot of dimensions.

If the number of dimensions increases, then naturally

it's going to be more dense.

Don't forget the density.

Density is

about how dense it is.

It's important that it looks crowded.

The stones on the bottom are all crammed together.

For the direction, make sure to make it protrude as much as possible.

I hope it becomes an object

where the silhouette of the character becomes a bit wider.

The directing

down below too...

When I used to draw strong illustrations...

Let's utilize water effects.

Let's make something like a liquid,

at a relatively low area.

The eye makes you concentrate a lot,

and there's a spark at the bottom.

So, not that.

There needs to be something to see around the edges, too.

So I used the point color

and made it an object that is the center of attention.

In monotone illustrations,

where whites and blacks are used a lot,

depending on the color arrangement,

and depending on the point color arrangement,

the gaze moves according to that.

The point colors that I put on the outer parts

are going to help

your eyes look out.

Continuing to the left one,

you have to be careful,

even when we do things like this, it doesn't become regular.

People are more 'mechanical' than you think.

The heartbeat, for instance,

is a very precise tempo.

The reason why we like music is

and rhythm,

is because of our heartbeat.

It means people like

a mechanical tempo.

So, even when you're drawing,

you could be carried away like that.

When you draw irregular items,

you need to be careful.

When it comes to things like this,

I say this to my students.

Don't trust yourself.

But because you don't trust yourself,

I believe that you will be able to trust yourself later on.

For example,

there will be people

who can't wake up in the morning

I'm like that.

What do we do if we can't wake up in the morning?

We set about 10 alarms.

We build about 10 defenses.

If you don't wake up, the alarm will keep going off until you wake up.

And so,

eventually, we can get up.

Because I'm not going to wake up,

I set the alarm,

and because I set the alarm,

I can believe that I'll eventually wake up in the morning.

That's what it's like.

It's the same when you draw.

If you often make mistakes in a certain area,

and if you know that,

you can be careful in advance

because you would have made a mistake in that area before.

I'm going to make a mistake again, so I'll be careful not to.

If you recognize it in advance,

you'll be able to move on without making that mistake.

The flame part in the middle

is the area where the particles are concentrated and the density is high.

If you look at the arrangement of the areas that need to be dense,

the character's face should go in the strongest,

and the skirt in the middle should go in weakly.

The flame at the bottom should have a medium amount of density.

Then the order of strong, medium, and weak is

established.

Rather than using them neatly side by side.

It's good to mix them together.

We're going to edit it as a whole.

In order to edit,

at the bottom part of the flame,

I'm going to put in fireworks like that.

The way I used it is similar.

I'll apply the Screen Layer and change the color as I want.

I'll adjust the Contrast as I want.

You can use it just how you want.

You can change the shape with the Smudge Tool.

And you can use something similar

and make a flame at the bottom.

Let's keep adding effects.

I'm sure you remember all the tools you're using now.

Ctrl+6, B, M

I brought the flame texture, too.

I'm going to put it in so that it becomes a dotted particle.

There are many lines in the illustration.

There are many tentacles, and there are fireworks on this side.

There are many lines, so to fit them in,

you'll need to make sure that you have some dot elements.

Let's add the dots like that.

One of the parts that I need to catch up on is...

for portrait illustrations,

as I said before,

since the background is transparent,

if it goes outside of the canvas,

when I turn off the background,

that side will be still black.

If you turn off the bottom background,

can you see how the Screen Layer

is sticking out in a square shape?

You have to erase all those parts later.

When you make this picture transparent,

you have to make sure there are no unnatural parts.

Let's be careful

when you work on it.

We don't know what kind of image the background will be

for these illustrations.

I'll continue to use glitter

and I'm going to add more particles.

I added some dot elements.

It makes the particle size look smaller,

and it raises the quality.

The parts where the sparkles are placed

close to the character's face,

I'm going to put them in as much as possible.

If there's something you don't like,

you can put the sparkles in

by yourself.

When you do it,

if you use the Outer Glow effect,

it will work pretty well.

For the parts that are lacking,

add some more sparkles, too.

It's okay to touch it with a Smudge Tool from time to time.

I'll put in an Overlay Layer

between the creature and the background.

I'll add some light.

I'm going to make sure that the area is more distinguished.

It'll make the illustration look good.

When you add Overlay,

you'll put it in first.

Then, adjust the Opacity,

then you can adjust the information.

Bring some more fireworks

and place them at the back.

So, between the tentacles and the background,

it's like a haze

and it kind of looks like smoke.

I thought it'd be nice to have something like a haze.

So I put it in like that.

Use the Smudge Tool to make a shape.

I'm going to use the color I want.

I'll use a navy color.

There's a reason for that.

Since navy is a color with low intrinsic density,

and since it's a dark color,

I put it on the outside.

Turquoise is in the middle.

The middle is bright and the border area is dark.

I made that difference with the hues.

The middle is turquoise,

the border is navy.

Even when it's edited,

in the end, it's the same theory.

On the bottom part that lacks something,

to draw more attention,

you can see that it looks more completed

compared to the first time I drew the whole thing.

This is about 70% completed.

Add some more sparkles.

The overall silhouette looks a bit small.

In the background,

I can add a bit of a fog effect, too.

I'm going to make a big diamond silhouette from left to right.

That's how you make

the drawing more complete.

So, we described an illustration today.

If you do portrait illustration,

just like this,

you can actually complete

an actual illustration that you can use for practical work.

So, when you are working on description,

it's good to pay attention to these parts.

Keep up the great work.

This is the end of today's lecture.