Would you like to inspect the original subtitles? These are the user uploaded subtitles that are being translated:
1
00:00:00,000 --> 00:00:05,121
If you want to turn off the subtitles,
click [setting]-[tooltips]-['on' for PC, 'close' for mobile].
2
00:00:05,921 --> 00:00:06,840
Hello.
3
00:00:06,865 --> 00:00:08,727
From today,
4
00:00:09,195 --> 00:00:11,055
we will go through Section 3.
5
00:00:11,281 --> 00:00:14,296
As I said, Section 2 was about
6
00:00:14,298 --> 00:00:18,001
the method for practicing characters.
7
00:00:18,003 --> 00:00:21,733
So, it wasn't practice to draw a perfect illustration.
8
00:00:21,758 --> 00:00:23,603
When you train for that character by yourself,
9
00:00:23,605 --> 00:00:25,295
what kind of training is good,
10
00:00:25,297 --> 00:00:29,178
and how you deal with that when you approach it,
11
00:00:29,203 --> 00:00:32,616
and the process of learning about that, was focused on in Section 2.
12
00:00:32,641 --> 00:00:34,020
Now, in section 3,
13
00:00:34,022 --> 00:00:36,217
before we move on to the actual drawing,
14
00:00:36,242 --> 00:00:39,071
we're going to go over
15
00:00:39,073 --> 00:00:40,634
what's important.
16
00:00:40,636 --> 00:00:43,423
We'll learn how to make the human body look good
17
00:00:43,425 --> 00:00:45,700
and how you can create it with your own intentions.
18
00:00:45,702 --> 00:00:47,348
We'll learn
19
00:00:47,350 --> 00:00:50,859
what kinds of elements we can use
20
00:00:50,884 --> 00:00:52,461
when we're composing a canvas.
21
00:00:52,463 --> 00:00:54,787
In other words, what we're going to do from now on is
22
00:00:54,789 --> 00:00:57,788
a real illustration class.
23
00:00:57,813 --> 00:01:00,612
Since we're going through the illustrations,
24
00:01:00,613 --> 00:01:02,846
Subtitled by
-♪ online-courses.club ♪-
We compress knowledge for you!
https://t.me/joinchat/ailxpXoW3JVjYzQ1
25
00:01:02,847 --> 00:01:03,270
let's take some time to remind ourselves
26
00:01:03,272 --> 00:01:05,505
of the old information we are about to forget.
27
00:01:06,441 --> 00:01:08,274
What's important in illustrations is,
28
00:01:10,216 --> 00:01:13,157
what we make up is not the composition of the characters,
29
00:01:16,804 --> 00:01:18,549
what we make up is
30
00:01:18,574 --> 00:01:21,471
a square screen called an illustration.
31
00:01:23,494 --> 00:01:25,641
When it comes to organizing this screen,
32
00:01:29,243 --> 00:01:31,705
the character is just used as a theme.
33
00:01:31,707 --> 00:01:33,740
It's very important.
34
00:01:33,765 --> 00:01:36,196
Please remember this part.
35
00:01:36,221 --> 00:01:39,430
Then, using the theme of the character,
36
00:01:39,716 --> 00:01:41,417
when you organize the screen,
37
00:01:41,419 --> 00:01:43,415
how could you approach it?
38
00:01:43,417 --> 00:01:46,985
In terms of approach, the theme of this character is...
39
00:01:47,118 --> 00:01:49,649
We usually draw character illustrations, right?
40
00:01:49,742 --> 00:01:53,727
It's kind of like meat.
41
00:01:55,470 --> 00:01:59,489
Comparing the ingredients to the illustration,
42
00:01:59,514 --> 00:02:01,132
the character is like meat.
43
00:02:01,157 --> 00:02:02,351
What is meat?
44
00:02:02,376 --> 00:02:04,781
Except for those who really hate meat,
45
00:02:04,783 --> 00:02:07,954
it'd be the main character if there's meat as part of your meal.
46
00:02:08,180 --> 00:02:11,437
It stands out.
47
00:02:11,462 --> 00:02:14,141
Most of the main characters eat it by themselves.
48
00:02:14,540 --> 00:02:18,515
Then, how could you make sure the meat is delicious?
49
00:02:18,540 --> 00:02:21,282
Of course, the freshness of the meat itself is very important.
50
00:02:21,571 --> 00:02:24,113
The freshness of the meat means
51
00:02:24,115 --> 00:02:26,902
how well developed this character is.
52
00:02:28,425 --> 00:02:30,961
The setting and appearance of this character
53
00:02:31,134 --> 00:02:34,494
and the appearance of your design or your drawing skills,
54
00:02:34,754 --> 00:02:36,543
those things are very important, too.
55
00:02:36,545 --> 00:02:37,976
Of course, it must be important.
56
00:02:38,001 --> 00:02:40,335
People say that quality matters for meat.
57
00:02:40,360 --> 00:02:41,952
But apart from that,
58
00:02:41,977 --> 00:02:44,766
no matter what kind of meat it is, the recipe is
59
00:02:44,791 --> 00:02:46,938
very important.
60
00:02:48,648 --> 00:02:50,856
If this was the illustration,
61
00:02:50,858 --> 00:02:52,095
it's going to be the direction part.
62
00:02:54,087 --> 00:02:58,793
We brought the best A+ beef.
63
00:02:58,795 --> 00:03:00,056
We're going to cook it now.
64
00:03:00,058 --> 00:03:02,585
I grilled it for 5 hours.
65
00:03:02,623 --> 00:03:03,944
The meat will go bad.
66
00:03:03,969 --> 00:03:05,436
We shouldn't cook it like that.
67
00:03:05,679 --> 00:03:08,185
And it's no good to have the meat raw.
68
00:03:08,210 --> 00:03:09,326
Then what should we do?
69
00:03:09,328 --> 00:03:10,904
Prepare a garnish,
70
00:03:10,929 --> 00:03:13,243
depending on the quality of the meat,
71
00:03:13,245 --> 00:03:15,183
if the meat is relatively poor quality,
72
00:03:15,185 --> 00:03:19,300
or if it's a minor part of the animal that people don't like,
73
00:03:19,302 --> 00:03:20,821
find the right recipe for it,
74
00:03:21,202 --> 00:03:24,029
or if it's a part that people do usually like,
75
00:03:24,054 --> 00:03:25,580
for example pork belly,
76
00:03:25,582 --> 00:03:27,553
it goes well with just salt and pepper.
77
00:03:27,722 --> 00:03:30,330
Like that, for the major materials that people like
78
00:03:30,332 --> 00:03:33,029
you have to think about how it would be in a raw state.
79
00:03:33,054 --> 00:03:35,644
If you don't think people will like an unfamiliar material,
80
00:03:35,646 --> 00:03:39,911
you need to make an impactful recipe to match it accordingly.
81
00:03:39,913 --> 00:03:42,358
You need to be able to direct it.
82
00:03:42,582 --> 00:03:45,505
So we prepared material earlier.
83
00:03:45,530 --> 00:03:47,377
What we prepared in Section 2 was
84
00:03:47,379 --> 00:03:49,319
about characters.
85
00:03:49,485 --> 00:03:53,724
Then starting from Section 3, related to the theme of characters,
86
00:03:53,749 --> 00:03:55,840
how should we direct them?
87
00:03:55,842 --> 00:03:57,780
We're going to take some time to figure it out.
88
00:04:02,399 --> 00:04:06,405
Before we start, let's take a look at the gaze.
89
00:04:07,894 --> 00:04:10,076
So, what does the term "gaze" mean?
90
00:04:10,078 --> 00:04:13,474
When we look at the illustration,
91
00:04:13,499 --> 00:04:16,950
in what order would the eyes see, from where to where?
92
00:04:16,952 --> 00:04:18,944
This is the gaze.
93
00:04:19,085 --> 00:04:21,693
When you look at the screen,
94
00:04:21,718 --> 00:04:23,977
people's eyes start from the top left,
95
00:04:23,979 --> 00:04:25,877
and they're going to go down to the bottom right.
96
00:04:25,902 --> 00:04:28,537
This is the exact order.
97
00:04:28,562 --> 00:04:30,630
Of course, I don't think everyone reads like this.
98
00:04:30,655 --> 00:04:33,828
It can change depending on the situation of the illustration,
99
00:04:34,007 --> 00:04:37,000
or people from Japan might look at it the opposite way.
100
00:04:37,002 --> 00:04:38,721
There's a theory
101
00:04:38,723 --> 00:04:42,303
that it's closely related to the order of reading.
102
00:04:42,328 --> 00:04:45,517
People from Japan do read from left to right.
103
00:04:45,542 --> 00:04:47,832
But they read manga comics from right to left.
104
00:04:47,857 --> 00:04:50,506
I heard that they could even be flipped over.
105
00:04:50,531 --> 00:04:53,167
In general, though, it's from left to right,
106
00:04:53,192 --> 00:04:57,194
and there are many cases where it goes down and flows to the right.
107
00:04:57,219 --> 00:04:59,619
That's the general framework for the gaze.
108
00:05:01,319 --> 00:05:03,790
Then how will it be used?
109
00:05:03,792 --> 00:05:05,850
You might wonder if this theory exists.
110
00:05:05,852 --> 00:05:08,896
When you design a movie poster,
111
00:05:08,898 --> 00:05:12,284
you don't put important designs in the bottom left.
112
00:05:12,460 --> 00:05:15,631
So important information is as central as possible,
113
00:05:15,875 --> 00:05:17,966
or on the top right side.
114
00:05:17,991 --> 00:05:20,507
They fill this section with
115
00:05:20,532 --> 00:05:21,891
as little important information as possible.
116
00:05:21,916 --> 00:05:24,370
It'd be great to take a look at
117
00:05:24,372 --> 00:05:26,388
a few movie posters later.
118
00:05:26,413 --> 00:05:29,602
In illustration,
119
00:05:29,604 --> 00:05:31,318
the gaze is almost like a simple frame.
120
00:05:31,320 --> 00:05:34,149
Then we need to know how to use this.
121
00:05:34,151 --> 00:05:36,000
So, let's say people gaze
122
00:05:36,002 --> 00:05:37,210
from the top left to the bottom right.
123
00:05:37,235 --> 00:05:38,655
So,
124
00:05:38,680 --> 00:05:41,034
how should I use this to make it well?
125
00:05:41,059 --> 00:05:43,233
Let's organize it again.
126
00:05:43,235 --> 00:05:47,114
We need pretty illustrations.
127
00:05:47,116 --> 00:05:48,419
That's what I think.
128
00:05:48,421 --> 00:05:53,214
As a result, think of it as making one illustration
129
00:05:53,216 --> 00:05:55,242
you can focus on for a long time.
130
00:05:55,655 --> 00:05:57,640
Unlike cartoons and animations,
131
00:05:57,642 --> 00:06:00,734
You have to make a strong impression with just one illustration
132
00:06:00,759 --> 00:06:03,456
and you need to put in elements
133
00:06:03,481 --> 00:06:04,974
that the viewers can enjoy.
134
00:06:04,999 --> 00:06:06,620
So, it's very important to
135
00:06:06,622 --> 00:06:08,637
make the gaze linger as long as possible
136
00:06:08,639 --> 00:06:10,027
on this one piece.
137
00:06:10,029 --> 00:06:12,991
Then, what are the conditions for that?
138
00:06:13,016 --> 00:06:14,944
There are two main conditions.
139
00:06:14,979 --> 00:06:18,430
First, the gaze needs to flow smoothly.
140
00:06:19,184 --> 00:06:22,468
And secondly, in the middle of the smooth flow of the gaze,
141
00:06:22,493 --> 00:06:24,428
there has to be a break.
142
00:06:25,110 --> 00:06:27,077
You need to 'feel' the illustration.
143
00:06:27,476 --> 00:06:30,046
When things go that way, as a result,
144
00:06:30,071 --> 00:06:32,328
we can feel the illustration for a long time.
145
00:06:32,353 --> 00:06:35,639
You can think of it as a good illustration.
146
00:06:37,073 --> 00:06:40,506
Then let's apply it to a character.
147
00:06:42,321 --> 00:06:44,395
For those who are confused, let me summarize.
148
00:06:44,420 --> 00:06:47,750
When you look at the screen,
149
00:06:47,752 --> 00:06:49,950
from the top left to the bottom right,
150
00:06:49,952 --> 00:06:52,499
that's people's general gaze.
151
00:06:52,711 --> 00:06:56,591
And when you apply this to illustration,
152
00:06:56,616 --> 00:07:00,347
so that we can keep our eyes on it for as long as possible,
153
00:07:00,349 --> 00:07:01,702
we're going to display them now.
154
00:07:01,727 --> 00:07:04,052
We need to arrange things that we can enjoy from time to time,
155
00:07:04,077 --> 00:07:07,338
so that the viewers can be satisfied.
156
00:07:07,340 --> 00:07:09,671
Let's divide it into details.
157
00:07:09,696 --> 00:07:11,639
If I were to go into character illustration,
158
00:07:15,796 --> 00:07:17,718
how should I create this?
159
00:07:17,966 --> 00:07:20,547
In the character illustration,
160
00:07:20,549 --> 00:07:21,960
let's imagine
161
00:07:21,962 --> 00:07:23,472
how people will look at the illustration.
162
00:07:24,097 --> 00:07:27,092
When you students see a character illustration,
163
00:07:27,117 --> 00:07:29,046
which part will you look at first?
164
00:07:29,071 --> 00:07:33,099
I think most of you will see the character first.
165
00:07:33,124 --> 00:07:35,120
Sometimes not.
166
00:07:35,122 --> 00:07:37,022
Even if it's an illustration with a character,
167
00:07:37,024 --> 00:07:39,399
there's also illustrations that are mainly background.
168
00:07:39,401 --> 00:07:41,702
So it's only about 80-90%.
169
00:07:41,727 --> 00:07:43,057
There are times when it's not.
170
00:07:43,163 --> 00:07:44,796
But for most of the illustrations,
171
00:07:44,821 --> 00:07:46,468
you may notice the characters first.
172
00:07:46,493 --> 00:07:48,143
Which part do you see in a character?
173
00:07:48,172 --> 00:07:51,511
We look at the face of the character first.
174
00:07:51,940 --> 00:07:54,576
Look at the face and move to the body.
175
00:07:54,578 --> 00:07:56,170
It's a general flow of the gaze.
176
00:07:56,195 --> 00:07:58,305
I'll open up a few files.
177
00:07:59,486 --> 00:08:01,151
I brought two illustrations.
178
00:08:01,176 --> 00:08:03,100
1 and 2.
179
00:08:03,591 --> 00:08:07,241
You'll be able to see that the two images are quite different.
180
00:08:07,442 --> 00:08:09,804
The first page looks very calm,
181
00:08:09,806 --> 00:08:11,510
overall, it looks cool,
182
00:08:11,512 --> 00:08:14,201
and it's comfortable to observe.
183
00:08:14,203 --> 00:08:16,866
While the second one looks a bit more intense,
184
00:08:16,891 --> 00:08:18,969
and more dynamic.
185
00:08:18,994 --> 00:08:20,903
What's the difference between these two?
186
00:08:20,905 --> 00:08:22,714
Let's
187
00:08:22,716 --> 00:08:23,976
think about it.
188
00:08:24,091 --> 00:08:27,036
The first one looks at the face first,
189
00:08:27,320 --> 00:08:30,749
and then it goes down towards the body.
190
00:08:31,241 --> 00:08:33,801
It could be different if there are background elements.
191
00:08:33,803 --> 00:08:36,281
But usually in an illustration with a single character,
192
00:08:36,282 --> 00:08:38,930
the flow from the character's face to the body
193
00:08:38,931 --> 00:08:40,650
would be the most common trend.
194
00:08:40,655 --> 00:08:42,593
That's why we see the face first,
195
00:08:42,618 --> 00:08:44,225
and when it goes down,
196
00:08:44,385 --> 00:08:48,225
since the character's body isn't that bent either,
197
00:08:48,725 --> 00:08:50,835
it gives a calm impression.
198
00:08:51,416 --> 00:08:54,600
On the contrary, the more your upper and lower body is bent,
199
00:08:54,602 --> 00:08:56,952
it would give you a dynamic impression.
200
00:08:56,977 --> 00:09:00,437
But this time, the character's body is calm.
201
00:09:00,462 --> 00:09:03,116
You can't help the gaze flowing like that.
202
00:09:03,141 --> 00:09:06,109
But the second character's face,
203
00:09:06,134 --> 00:09:07,643
on the other hand, it's down there.
204
00:09:09,476 --> 00:09:11,502
Let's say we have the introduction, development, turn, and conclusion in an illustration.
205
00:09:11,503 --> 00:09:15,137
If the first illustration showed what's important in the introduction,
206
00:09:15,138 --> 00:09:18,819
the second illustration showed what's important in the development stage.
207
00:09:18,844 --> 00:09:21,159
That's why it gives a strong impression,
208
00:09:21,184 --> 00:09:23,650
and unlike the general trend
209
00:09:23,651 --> 00:09:24,950
that the flow of the gaze moves from top to bottom,
210
00:09:24,952 --> 00:09:26,887
it bent from the bottom to the top.
211
00:09:27,809 --> 00:09:31,092
So it goes opposite to the flow,
212
00:09:31,117 --> 00:09:32,733
which was from top left to bottom right.
213
00:09:33,395 --> 00:09:34,873
So you may wonder
214
00:09:34,898 --> 00:09:36,136
whether you could do that or not.
215
00:09:36,161 --> 00:09:38,162
Of course, it's uncomfortable to look at now.
216
00:09:38,164 --> 00:09:41,535
This is an illustration that you can see only at a glance.
217
00:09:41,984 --> 00:09:45,392
But by making them go against the general flow,
218
00:09:45,856 --> 00:09:47,480
by putting it in the opposite way,
219
00:09:47,482 --> 00:09:50,042
it gives it a dynamic vibe.
220
00:09:50,058 --> 00:09:52,011
It makes a strong impression.
221
00:09:52,613 --> 00:09:55,025
You usually won't use this kind of mixture.
222
00:09:55,026 --> 00:09:56,660
But if you do use it,
223
00:09:56,661 --> 00:09:59,120
viewers will think that it is unique.
224
00:10:00,345 --> 00:10:02,424
Subtitled by
-♪ online-courses.club ♪-
We compress knowledge for you!
https://t.me/joinchat/ailxpXoW3JVjYzQ1
225
00:10:02,425 --> 00:10:03,623
Other than that, if you look at the overall flow of the gaze,
226
00:10:03,625 --> 00:10:06,594
there aren't many things that disrupt the character at this point.
227
00:10:07,124 --> 00:10:09,179
The gaze flows from top to bottom,
228
00:10:09,203 --> 00:10:12,163
and there's nothing distracting in the middle.
229
00:10:12,187 --> 00:10:16,007
You can say that there are elements that go sideways,
230
00:10:16,031 --> 00:10:18,491
but there's nothing in particular that distracts our attention.
231
00:10:18,824 --> 00:10:20,273
Even the clouds in the back,
232
00:10:20,297 --> 00:10:23,292
you'll be able to see them as if they're surrounding the character.
233
00:10:24,876 --> 00:10:26,516
But if you look at this illustration,
234
00:10:26,540 --> 00:10:29,847
let's say the flow of the character's eyes goes up like this,
235
00:10:29,871 --> 00:10:33,135
in between, there are elements that distract our attention,
236
00:10:33,159 --> 00:10:35,792
and the flow that goes back and forth.
237
00:10:35,816 --> 00:10:37,986
You'll be able to see that most of those flows are connected.
238
00:10:38,604 --> 00:10:40,010
Because of these things,
239
00:10:40,034 --> 00:10:43,604
this illustration becomes more dynamic.
240
00:10:44,087 --> 00:10:45,046
Within the gaze,
241
00:10:45,070 --> 00:10:47,425
there are the main gaze and the sub gaze.
242
00:10:47,449 --> 00:10:50,018
Main gaze and sub gaze.
243
00:10:50,042 --> 00:10:51,658
If the main gaze focuses on
244
00:10:51,682 --> 00:10:53,952
the character,
245
00:10:53,976 --> 00:10:55,452
the sub gaze will decide
246
00:10:55,454 --> 00:10:57,525
the overall atmosphere
247
00:10:57,527 --> 00:10:59,229
of the illustration.
248
00:10:59,253 --> 00:11:01,253
To give a flashy and dynamic vibe,
249
00:11:01,277 --> 00:11:03,299
the sub gaze is arranged for us
250
00:11:03,323 --> 00:11:07,099
to cut off the flow as much as possible.
251
00:11:08,533 --> 00:11:11,658
So that it seems like there's a lot of meaning behind it,
252
00:11:11,957 --> 00:11:13,895
with a stronger impression,
253
00:11:13,919 --> 00:11:15,415
and that's that kind of illustration.
254
00:11:15,439 --> 00:11:16,978
On the other hand, with the former one,
255
00:11:17,002 --> 00:11:19,797
there's nothing that bothers the flow of the gaze,
256
00:11:19,821 --> 00:11:21,587
so you could observe it calmly,
257
00:11:21,611 --> 00:11:24,037
and you come to focus on it and observe it slowly,
258
00:11:24,061 --> 00:11:26,204
in a relaxed manner.
259
00:11:26,228 --> 00:11:28,895
So the way you create the illustration changes.
260
00:11:30,593 --> 00:11:33,768
This includes the drawing of the character,
261
00:11:33,792 --> 00:11:35,792
but it also goes for the coloring.
262
00:11:35,976 --> 00:11:37,099
For example,
263
00:11:37,123 --> 00:11:40,131
this character has more light.
264
00:11:40,714 --> 00:11:43,576
There's a lot of shadow as well.
265
00:11:43,895 --> 00:11:46,822
But on the other hand, there's not much shadow on this side,
266
00:11:46,957 --> 00:11:49,229
and the light spread so smoothly that it came in.
267
00:11:49,492 --> 00:11:51,410
Including those things,
268
00:11:51,434 --> 00:11:53,952
with example A, the overall gaze
269
00:11:53,976 --> 00:11:56,374
would be droopy.
270
00:11:56,398 --> 00:11:58,235
However, the gaze flow would be different with example B
271
00:11:58,259 --> 00:12:00,593
because the image is fancy and strong.
272
00:12:01,097 --> 00:12:02,766
It is the difference in the illustrative mood,
273
00:12:02,790 --> 00:12:05,820
depending on the gaze.
274
00:12:09,564 --> 00:12:11,224
Let's come back to this point.
275
00:12:11,248 --> 00:12:13,529
In character illustration, our main gaze
276
00:12:13,553 --> 00:12:15,788
flows from the face to the body.
277
00:12:16,114 --> 00:12:18,431
The more the gaze flows calmly,
278
00:12:18,455 --> 00:12:19,792
the calmer the illustration will be.
279
00:12:19,816 --> 00:12:21,816
But, if the gaze flows in the opposite direction
280
00:12:21,840 --> 00:12:24,434
or if it is reverted
281
00:12:25,124 --> 00:12:27,761
and if there are fancy elements
282
00:12:28,093 --> 00:12:30,495
that distract the gaze,
283
00:12:30,519 --> 00:12:33,457
it will make a stronger impression overall.
284
00:12:34,167 --> 00:12:36,732
There are many other things you can utilize,
285
00:12:36,756 --> 00:12:39,030
but, that's all you need to know for now.
286
00:12:39,054 --> 00:12:41,054
If you want to draw a calm character,
287
00:12:41,069 --> 00:12:42,934
then, try to make the character's gaze
288
00:12:42,967 --> 00:12:45,196
not interrupted by any objects.
289
00:12:45,220 --> 00:12:48,106
And try to make the overall flow calm.
290
00:12:48,288 --> 00:12:50,827
On the other hand, if you want to draw something dynamic,
291
00:12:50,851 --> 00:12:52,963
it's also important to strengthen the flow of characters,
292
00:12:52,987 --> 00:12:54,786
that's an effective method.
293
00:12:54,810 --> 00:12:56,687
In that intense flow,
294
00:12:56,711 --> 00:12:59,493
by using these additional elements,
295
00:12:59,517 --> 00:13:02,292
the gaze won't have a single flow
296
00:13:02,316 --> 00:13:05,026
but will the gaze will be cut off in the middle
297
00:13:05,050 --> 00:13:08,210
and the illustration will look fancier.
298
00:13:08,484 --> 00:13:10,886
Usually, you can say that you're making it
299
00:13:10,910 --> 00:13:13,542
by understanding the difference depending on the mood
300
00:13:13,566 --> 00:13:16,556
and utilizing that knowledge.
301
00:13:17,728 --> 00:13:20,222
Even if we went through some theory,
302
00:13:20,246 --> 00:13:22,246
you still might not get it.
303
00:13:22,270 --> 00:13:24,551
Let's use it a real situation.
304
00:13:24,575 --> 00:13:26,914
We're going to use the character on the left,
305
00:13:26,938 --> 00:13:29,591
to draw a simple illustration.
306
00:13:30,337 --> 00:13:32,844
Since it's a character in a swimsuit,
307
00:13:32,868 --> 00:13:35,082
it was made for skin samples.
308
00:13:35,302 --> 00:13:36,154
So with this one,
309
00:13:36,178 --> 00:13:38,689
let's say we're drawing an illustration.
310
00:13:41,566 --> 00:13:44,272
I'm sure it'll come out in my teachings about thumbnails but
311
00:13:44,296 --> 00:13:45,635
when composing the thumbnail,
312
00:13:45,659 --> 00:13:48,128
it's important to make the parts
313
00:13:48,153 --> 00:13:49,755
you want to emphasize more clear.
314
00:13:50,387 --> 00:13:52,660
First of all, to draw attention,
315
00:13:52,684 --> 00:13:54,485
we need to organize it well.
316
00:13:54,509 --> 00:13:57,702
So the first illustration will be a single character.
317
00:13:57,726 --> 00:13:59,421
Let's look at various cases.
318
00:14:03,064 --> 00:14:04,819
For the second illustration,
319
00:14:05,479 --> 00:14:07,887
we're going to use simple objects with it.
320
00:14:09,833 --> 00:14:11,580
And in the third illustration,
321
00:14:14,158 --> 00:14:16,182
we're going to have multiple characters.
322
00:14:19,101 --> 00:14:20,316
These three things,
323
00:14:20,340 --> 00:14:23,214
I want you to practice these things the most
324
00:14:23,238 --> 00:14:26,964
when you work on illustrations.
325
00:14:26,988 --> 00:14:28,988
Let me tell you why.
326
00:14:29,012 --> 00:14:30,089
There's nothing else to say
327
00:14:30,113 --> 00:14:31,587
about the character.
328
00:14:31,612 --> 00:14:34,577
In character illustration, we would draw a lot of illustrations
329
00:14:34,601 --> 00:14:36,843
with a character in it.
330
00:14:37,454 --> 00:14:40,905
And we're going to connect a lot of things to the character.
331
00:14:41,275 --> 00:14:43,945
But if that object doesn't go well with the character,
332
00:14:43,969 --> 00:14:46,161
you may struggle when you draw illustrations.
333
00:14:46,395 --> 00:14:48,263
So, to match the character,
334
00:14:48,287 --> 00:14:50,287
we need to know how to deploy it.
335
00:14:51,658 --> 00:14:52,887
In addition to that,
336
00:14:52,911 --> 00:14:55,170
you will practice a lot of illustrations
337
00:14:55,171 --> 00:14:56,574
with two characters at the same time.
338
00:14:56,633 --> 00:14:59,648
Especially among those who want to work in the field,
339
00:14:59,672 --> 00:15:01,751
or those who want to work on the covers of novels,
340
00:15:01,775 --> 00:15:03,675
if you want to try that later,
341
00:15:03,699 --> 00:15:06,836
it's very important.
342
00:15:06,860 --> 00:15:09,400
Most novels have two or more characters on the cover.
343
00:15:09,424 --> 00:15:10,671
And most of them are male and female characters,
344
00:15:10,683 --> 00:15:12,276
cuddling each other.
345
00:15:12,300 --> 00:15:15,202
So, it would help you a lot
346
00:15:15,226 --> 00:15:18,398
if you know in advance how to make the gaze flow
347
00:15:18,422 --> 00:15:21,736
when you're composing the characters.
348
00:15:22,305 --> 00:15:24,165
Let's get started.
349
00:15:24,385 --> 00:15:26,353
If you are going to show
350
00:15:26,377 --> 00:15:28,057
the character first,
351
00:15:28,081 --> 00:15:31,516
and you want it to be more dynamic overall,
352
00:15:32,262 --> 00:15:34,378
with the upper body part of the character
353
00:15:34,402 --> 00:15:36,566
being emphasized.
354
00:15:36,590 --> 00:15:38,590
Or you want to emphasize the lower body.
355
00:15:38,614 --> 00:15:39,854
You need to decide these things first.
356
00:15:39,878 --> 00:15:42,709
I'm going to show you something dynamic.
357
00:15:42,986 --> 00:15:44,883
I'll show you a dynamic performance,
358
00:15:44,913 --> 00:15:47,267
with a way that emphasizes the upper body of the character.
359
00:15:47,269 --> 00:15:48,688
Let's get started.
360
00:15:49,698 --> 00:15:51,857
If we were to do it dynamically,
361
00:15:51,882 --> 00:15:54,492
you can bend the gaze
362
00:15:54,516 --> 00:15:56,218
from the top left to the bottom right a little bit.
363
00:15:57,141 --> 00:16:00,401
Then let's put the character on the right side.
364
00:16:07,574 --> 00:16:09,982
I'm going to place the character on the right,
365
00:16:11,935 --> 00:16:14,620
and we're going to increase the amount of information here.
366
00:16:15,188 --> 00:16:18,505
The character is wearing a swimsuit,
367
00:16:18,529 --> 00:16:20,238
and the design is very simple, too.
368
00:16:21,878 --> 00:16:22,958
That means,
369
00:16:22,982 --> 00:16:25,216
there's not much information added.
370
00:16:25,240 --> 00:16:27,901
But if you tried to give a strong impression,
371
00:16:27,925 --> 00:16:29,090
as I said,
372
00:16:29,092 --> 00:16:31,460
we should put a lot of elements around it.
373
00:16:33,746 --> 00:16:35,841
But we decided to use the character only.
374
00:16:36,026 --> 00:16:38,228
Then you have to increase the information that makes up the character.
375
00:16:38,252 --> 00:16:40,593
How can we increase that information?
376
00:16:41,353 --> 00:16:43,476
There are many things you can use at this point,
377
00:16:43,500 --> 00:16:45,437
but if I were to point out one thing,
378
00:16:45,461 --> 00:16:47,106
there's an element called perspective.
379
00:16:49,719 --> 00:16:51,424
An illustration with perspective,
380
00:16:51,448 --> 00:16:53,001
and one without it...
381
00:16:53,025 --> 00:16:54,698
out of those two,
382
00:16:54,722 --> 00:16:56,978
the illustration with perspective looks a bit fancier.
383
00:16:57,184 --> 00:16:59,911
Therefore, if you make an illustration
384
00:16:59,946 --> 00:17:02,692
with a high angle and perspective applied,
385
00:17:02,705 --> 00:17:04,705
it'll make a stronger first impression.
386
00:17:05,124 --> 00:17:07,035
But even if you just use it like this,
387
00:17:07,059 --> 00:17:08,760
it might not be enough.
388
00:17:08,784 --> 00:17:11,630
If you want to explicitly apply perspectives,
389
00:17:11,850 --> 00:17:13,107
how can you do that?
390
00:17:14,428 --> 00:17:16,729
You can use a perspective that widens.
391
00:17:24,471 --> 00:17:27,475
For example, the face of this character,
392
00:17:33,421 --> 00:17:36,234
it makes it look like a low angle.
393
00:17:52,468 --> 00:17:54,163
And on the upper body,
394
00:17:54,187 --> 00:17:55,851
give a strong high angle.
395
00:17:58,306 --> 00:17:59,556
If you do it like that,
396
00:17:59,580 --> 00:18:02,361
with the upper body with that angle and without the angle,
397
00:18:02,385 --> 00:18:06,218
or the part of your face that went into a low angle,
398
00:18:06,242 --> 00:18:07,937
able to make a gap.
399
00:18:08,533 --> 00:18:11,907
So there are two angles at the same time.
400
00:18:12,056 --> 00:18:13,540
So that the people who are observing
401
00:18:13,564 --> 00:18:16,466
might think there's a lot of information there.
402
00:18:35,590 --> 00:18:37,649
I said it would be more dynamic
403
00:18:37,662 --> 00:18:40,039
if you bend the upper and lower body a lot.
404
00:18:55,763 --> 00:18:58,242
To make the background more fancy,
405
00:18:58,266 --> 00:19:00,385
you can direct the character to be swimming in the water.
406
00:19:00,397 --> 00:19:02,626
I think you could direct a circumstance like that.
407
00:19:13,959 --> 00:19:15,813
If you arrange it like this,
408
00:19:15,837 --> 00:19:17,979
although it's a character in a simple swimsuit,
409
00:19:18,003 --> 00:19:20,863
you could see that the overall vibe has become quite fancy.
410
00:19:22,780 --> 00:19:24,840
So, there's a difference in atmosphere
411
00:19:24,842 --> 00:19:26,814
when you draw this standing character
412
00:19:27,347 --> 00:19:28,838
like this,
413
00:19:28,862 --> 00:19:30,998
and like this.
414
00:19:33,917 --> 00:19:36,055
Let's see how many theories you've used.
415
00:19:36,080 --> 00:19:37,106
First,
416
00:19:38,839 --> 00:19:40,231
people's gaze,
417
00:19:40,255 --> 00:19:42,930
basically, it flows from top left to bottom right.
418
00:19:42,954 --> 00:19:44,719
Since we were going to make a dynamic vibe,
419
00:19:44,743 --> 00:19:47,141
it was a bit different from the basic structure.
420
00:19:47,900 --> 00:19:51,386
So it went from the top right to the bottom left,
421
00:19:51,410 --> 00:19:54,930
and it is made up of a line that falls back to the right.
422
00:19:54,954 --> 00:19:56,258
This is the first theory.
423
00:19:56,282 --> 00:19:58,119
And second, perspective,
424
00:19:58,143 --> 00:20:00,470
to give information.
425
00:20:00,494 --> 00:20:02,494
Since the character's design is simple,
426
00:20:03,652 --> 00:20:05,846
to increase the amount of information,
427
00:20:05,870 --> 00:20:07,579
the face is kind of at a low angle,
428
00:20:08,169 --> 00:20:09,866
a high angle for the upper body,
429
00:20:10,003 --> 00:20:12,920
and by giving a stronger high angle to the lower body,
430
00:20:13,048 --> 00:20:15,498
I put a lot of perspective in between.
431
00:20:15,522 --> 00:20:17,111
We made sure that
432
00:20:17,135 --> 00:20:20,378
the viewers can focus on this area, where there are
433
00:20:20,402 --> 00:20:22,160
a lot of elements.
434
00:20:22,970 --> 00:20:25,051
By applying a high angle,
435
00:20:25,605 --> 00:20:29,525
we made sure that the viewers can focus on the chest area
436
00:20:29,549 --> 00:20:30,775
and the facial area.
437
00:20:30,983 --> 00:20:34,142
So we have three theories in total.
438
00:20:34,987 --> 00:20:37,956
On the other hand, if you want to make the illustration look calm,
439
00:20:37,980 --> 00:20:40,392
you're only going to draw this character,
440
00:20:40,416 --> 00:20:43,197
with a calm mood overall.
441
00:20:43,221 --> 00:20:44,277
Then,
442
00:20:44,301 --> 00:20:46,301
things change a little bit here.
443
00:20:46,954 --> 00:20:49,241
Let's do the opposite.
444
00:20:49,348 --> 00:20:50,711
What did we do first?
445
00:20:50,735 --> 00:20:52,956
The gaze flows from the top left to the bottom right,
446
00:20:53,126 --> 00:20:54,767
let's start from this point.
447
00:20:55,584 --> 00:20:57,892
And keep the perspective as low as possible.
448
00:20:58,325 --> 00:21:00,378
It's going to be a low angle,
449
00:21:00,402 --> 00:21:02,167
but we're not going to turn up the angle more,
450
00:21:02,191 --> 00:21:04,000
we're going to apply just a small low angle
451
00:21:04,341 --> 00:21:07,373
or just not apply perspective at all.
452
00:21:09,142 --> 00:21:10,143
The posing of the character
453
00:21:10,167 --> 00:21:12,062
is the usual dynamic posing,
454
00:21:16,211 --> 00:21:19,789
so let's change it to a normal pose.
455
00:21:45,679 --> 00:21:47,696
Let's say there's some background.
456
00:21:47,720 --> 00:21:50,608
It would be a bit bland if the gaze just goes downwards.
457
00:21:50,632 --> 00:21:53,555
In fact, in illustrations, it's good if the screen is full.
458
00:21:53,782 --> 00:21:54,741
So, to do that,
459
00:21:54,765 --> 00:21:57,674
we have to put in more elements here.
460
00:21:59,855 --> 00:22:01,545
Let's put in palm trees.
461
00:22:02,525 --> 00:22:04,067
Because the character is wearing a swimsuit.
462
00:22:13,363 --> 00:22:15,174
If you place it like this,
463
00:22:15,198 --> 00:22:16,774
you'll be able to see that it's definitely different
464
00:22:18,330 --> 00:22:20,481
from the character on the top.
465
00:22:22,199 --> 00:22:24,166
It's definitely more dynamic.
466
00:22:24,763 --> 00:22:26,424
Quiet and calm.
467
00:22:26,716 --> 00:22:28,903
You can feel the difference between the two.
468
00:22:32,653 --> 00:22:36,275
To tell you one more theory at this point,
469
00:22:36,299 --> 00:22:37,959
when you are positioning the gaze,
470
00:22:37,983 --> 00:22:41,183
and when you position linear elements around it
471
00:22:41,214 --> 00:22:42,263
like these ones,
472
00:22:42,973 --> 00:22:46,743
it's good if they are connected naturally.
473
00:22:46,768 --> 00:22:49,400
If the lines are cut off in the middle,
474
00:22:49,424 --> 00:22:53,129
the gaze won't flow naturally
475
00:22:53,154 --> 00:22:54,741
like I told you before.
476
00:22:54,765 --> 00:22:57,071
So, when these linear elements are added,
477
00:22:57,095 --> 00:22:58,292
even when they go outwards,
478
00:22:58,316 --> 00:22:59,880
you need to make sure that the gaze
479
00:22:59,882 --> 00:23:01,061
goes back in again.
480
00:23:01,438 --> 00:23:03,427
So, these elements would
481
00:23:04,074 --> 00:23:06,929
be connected when you place them
482
00:23:06,953 --> 00:23:08,143
no matter how you place them.
483
00:23:10,203 --> 00:23:11,851
Although it might be unnatural,
484
00:23:11,875 --> 00:23:13,704
you need to place these elements well
485
00:23:13,728 --> 00:23:15,018
so that the viewer's gaze
486
00:23:15,042 --> 00:23:17,980
can flow along with them naturally.
487
00:23:18,775 --> 00:23:21,318
So, with this illustration,
488
00:23:21,342 --> 00:23:24,727
the gaze that went to the bottom right with the character
489
00:23:24,751 --> 00:23:27,646
shouldn't just end, but it should go back up with the palm tree.
490
00:23:28,037 --> 00:23:30,537
So, what element can we add
491
00:23:30,561 --> 00:23:32,021
so that the gaze that went down with the character
492
00:23:32,046 --> 00:23:34,057
from the right
493
00:23:34,059 --> 00:23:35,245
to the bottom
494
00:23:35,291 --> 00:23:36,687
comes back up again?
495
00:23:36,711 --> 00:23:38,207
We can make it look like they're swimming.
496
00:23:39,775 --> 00:23:41,429
So, we can add a spray of water
497
00:23:41,453 --> 00:23:43,558
or a tube.
498
00:23:44,261 --> 00:23:45,661
If you add these elements,
499
00:23:45,685 --> 00:23:48,605
it would be even more effective.
500
00:23:51,051 --> 00:23:53,434
So, we briefly looked at
501
00:23:53,458 --> 00:23:54,691
how the gaze applies
502
00:23:54,715 --> 00:23:56,832
when you're composing a canvas
503
00:23:56,856 --> 00:23:58,291
with a single character.
504
00:23:58,315 --> 00:24:01,722
Of course, this is just one of many cases.
505
00:24:01,746 --> 00:24:03,961
You can think of it as the overall flow.
506
00:24:04,150 --> 00:24:06,676
If you want to draw a calm character,
507
00:24:06,700 --> 00:24:08,558
you can do a static gaze.
508
00:24:08,582 --> 00:24:11,142
But if you want to draw a dynamic character,
509
00:24:11,166 --> 00:24:13,280
break the flow
510
00:24:13,282 --> 00:24:14,763
that goes from the top left to the bottom right,
511
00:24:14,938 --> 00:24:15,745
and while working on it,
512
00:24:15,769 --> 00:24:18,193
add other elements on the side.
513
00:24:19,098 --> 00:24:20,217
Then, at this point,
514
00:24:20,241 --> 00:24:22,497
What happens when the elements are connected?
515
00:24:22,521 --> 00:24:24,092
The difference is,
516
00:24:24,116 --> 00:24:25,756
when you're directing the character,
517
00:24:25,780 --> 00:24:26,875
you can think of it
518
00:24:26,877 --> 00:24:29,009
as a main element with sub-elements inside the character.
519
00:24:29,374 --> 00:24:32,235
If you want the upper body to stand out,
520
00:24:32,259 --> 00:24:33,400
from that information,
521
00:24:33,425 --> 00:24:35,107
this would be the main element.
522
00:24:36,027 --> 00:24:38,575
And the rest of the parts would be the sub-elements.
523
00:24:38,599 --> 00:24:41,153
So normally, illustrations that go into a single character like this,
524
00:24:41,177 --> 00:24:42,630
would be a sexy concept.
525
00:24:42,632 --> 00:24:44,133
It's often used in that kind of concept.
526
00:24:44,308 --> 00:24:46,586
Expressing a character's body becomes very important.
527
00:24:47,192 --> 00:24:48,274
On the other hand,
528
00:24:48,298 --> 00:24:50,298
when you compose an object item,
529
00:24:50,322 --> 00:24:52,322
the item "object" itself,
530
00:24:52,346 --> 00:24:54,440
would be a sub-element.
531
00:24:54,909 --> 00:24:56,761
Of course, there are illustrations
532
00:24:56,785 --> 00:24:59,769
where the objects are more important than the character.
533
00:24:59,905 --> 00:25:01,611
But, most of the time,
534
00:25:01,635 --> 00:25:03,232
the objects are the sub elements
535
00:25:03,256 --> 00:25:05,869
and the characters are the main elements.
536
00:25:06,331 --> 00:25:08,291
So, if the objects are the sub elements,
537
00:25:08,315 --> 00:25:10,374
depending on how you use them,
538
00:25:10,398 --> 00:25:12,021
the atmosphere would be different.
539
00:25:14,280 --> 00:25:17,509
Let's say a character is holding an accessory.
540
00:25:17,540 --> 00:25:20,862
A unique accessory that looks like a fish.
541
00:25:28,707 --> 00:25:30,986
When we have a character like this,
542
00:25:48,668 --> 00:25:51,103
let's say that it has a fish-shaped purse.
543
00:26:00,954 --> 00:26:03,362
Let's simply draw a character
544
00:26:08,485 --> 00:26:11,207
and let's say the character is cute.
545
00:26:15,925 --> 00:26:18,232
This is a cheerful character
546
00:26:19,915 --> 00:26:22,959
and you want to create an adorable mood,
547
00:26:23,493 --> 00:26:25,849
and not a sexy mood.
548
00:26:25,873 --> 00:26:28,056
So, if you want a cute character,
549
00:26:28,080 --> 00:26:31,448
make sure the objects work as
550
00:26:31,472 --> 00:26:33,004
sub elements.
551
00:26:33,206 --> 00:26:35,926
It's better if the character has a stronger impression.
552
00:26:36,520 --> 00:26:38,812
When you're creating a cute character,
553
00:26:38,836 --> 00:26:41,227
usually, the main and sub elements
554
00:26:41,251 --> 00:26:44,808
have around the same influence on the mood.
555
00:26:44,832 --> 00:26:48,024
So, you don't have to focus on the character too much.
556
00:26:48,662 --> 00:26:51,175
With pretty or calm characters,
557
00:26:51,199 --> 00:26:53,616
the artist would want you to
558
00:26:53,640 --> 00:26:55,836
just look at the character.
559
00:26:55,860 --> 00:26:57,119
On the other hand, with cute characters,
560
00:26:57,143 --> 00:27:00,172
viewers tend to perceive the situation itself as cute.
561
00:27:00,296 --> 00:27:02,510
So, the connection between
562
00:27:02,534 --> 00:27:05,732
the character and the sub-elements will be stronger.
563
00:27:05,756 --> 00:27:09,124
For example, when there's a fish-shaped purse,
564
00:27:09,148 --> 00:27:11,800
you can make it look alive by
565
00:27:11,824 --> 00:27:13,395
making it jump upwards,
566
00:27:19,176 --> 00:27:21,364
and this character
567
00:27:21,702 --> 00:27:24,306
could be playing with the purse
568
00:27:30,758 --> 00:27:34,463
so we can utilize its hands like this.
569
00:27:35,322 --> 00:27:38,870
The hands can also be a kind of sub-element.
570
00:27:38,894 --> 00:27:41,474
So, raise its hand, and place it near the face.
571
00:27:51,058 --> 00:27:54,443
So, when we come to the character and its main element,
572
00:27:54,467 --> 00:27:57,536
in a character illustration, the face is the main element.
573
00:27:57,702 --> 00:27:59,534
We look at the face first,
574
00:27:59,558 --> 00:28:02,796
then the objects we see next will be placed close to the face.
575
00:28:02,820 --> 00:28:06,136
So, the character could be cute, or cheerful
576
00:28:06,160 --> 00:28:08,043
or give a strong first impression.
577
00:28:08,271 --> 00:28:10,067
What does that mean?
578
00:28:10,091 --> 00:28:11,500
Let's take a quick look.
579
00:28:11,728 --> 00:28:14,267
But first,
580
00:28:16,220 --> 00:28:18,141
I'll use the space here.
581
00:28:22,138 --> 00:28:25,589
Let's say this character is aggressive.
582
00:28:30,517 --> 00:28:32,711
If it is very aggressive,
583
00:28:43,114 --> 00:28:48,003
it could bite the fish like this.
584
00:28:55,218 --> 00:28:57,178
If you take a brief glance,
585
00:28:57,202 --> 00:29:00,536
it would look scary and obsessive.
586
00:29:02,685 --> 00:29:05,400
Of course, to make this clear,
587
00:29:05,424 --> 00:29:07,165
you can change the posture like this.
588
00:29:08,805 --> 00:29:11,715
Then it will look more natural, but anyway,
589
00:29:11,739 --> 00:29:15,159
this would also be one of the ways
590
00:29:17,067 --> 00:29:18,148
to give a strong first impression
591
00:29:18,172 --> 00:29:19,801
by placing the character and the sub-elements close to each other.
592
00:29:20,042 --> 00:29:21,637
Then, on the other hand,
593
00:29:21,661 --> 00:29:24,795
if this goes further away from the character,
594
00:29:24,819 --> 00:29:27,165
or, if it doesn't have a strong impression,
595
00:29:27,189 --> 00:29:29,847
the illustration would become calm
596
00:29:29,871 --> 00:29:32,503
since we can then fully concentrate on the character.
597
00:29:32,867 --> 00:29:33,909
That is why
598
00:29:33,933 --> 00:29:36,396
when you're placing this object with the character
599
00:29:36,420 --> 00:29:38,505
you can make this object obscure
600
00:29:39,921 --> 00:29:41,976
by making it come closer
601
00:29:43,947 --> 00:29:45,570
to the viewer.
602
00:29:46,658 --> 00:29:48,948
So that way, it would be further apart from the character.
603
00:29:49,319 --> 00:29:53,642
Then, if we're going for a calmer look,
604
00:30:17,575 --> 00:30:20,465
remember how I said the hands could be a sub-element?
605
00:30:33,805 --> 00:30:36,064
I'll spray water like this.
606
00:30:39,541 --> 00:30:41,292
So, compared to the previous examples,
607
00:30:41,316 --> 00:30:43,870
the fish is far apart from the character,
608
00:30:43,894 --> 00:30:46,435
and we almost can't see it.
609
00:30:46,872 --> 00:30:48,102
So, that's why
610
00:30:48,126 --> 00:30:50,941
compared to the previous examples,
611
00:30:50,965 --> 00:30:52,560
we can now focus more on
612
00:30:52,562 --> 00:30:54,207
the character.
613
00:30:56,618 --> 00:30:58,786
We would only focus on the facial area for this example
614
00:30:58,810 --> 00:31:02,112
and for this example too.
615
00:31:02,307 --> 00:31:05,543
But, with this example, the viewer's gaze would be more spread out.
616
00:31:05,804 --> 00:31:08,349
So, you can now see
617
00:31:08,373 --> 00:31:11,360
that this illustration looks calm and mature
618
00:31:11,361 --> 00:31:12,715
compared to the previous ones.
619
00:31:14,189 --> 00:31:15,784
Because the X shape on the fish is really casual,
620
00:31:15,808 --> 00:31:18,942
if we move the fish
621
00:31:18,966 --> 00:31:21,976
more forwards so that we almost can't see it,
622
00:31:22,353 --> 00:31:25,628
it will look even more calm and mature.
623
00:31:26,845 --> 00:31:28,148
Let's wrap it up.
624
00:31:29,736 --> 00:31:31,474
Because there were a lot of hard concepts.
625
00:31:32,529 --> 00:31:34,365
When there's only one character,
626
00:31:34,389 --> 00:31:36,605
when you are directing the gaze,
627
00:31:36,629 --> 00:31:38,629
you have to divide
628
00:31:38,766 --> 00:31:41,637
the main and sub elements within a character.
629
00:31:42,073 --> 00:31:44,194
For example, like I emphasized,
630
00:31:44,196 --> 00:31:45,705
the character's upper body.
631
00:31:45,895 --> 00:31:48,584
If you are going for a more dynamic pose,
632
00:31:48,608 --> 00:31:51,155
don't make the gaze flow
633
00:31:51,179 --> 00:31:52,907
go in a straight line,
634
00:31:54,013 --> 00:31:56,064
and add in as many elements as possible.
635
00:31:56,494 --> 00:31:58,538
On the other hand, when you do a calm illustration,
636
00:31:58,563 --> 00:32:00,094
I said to reduce the amount of information,
637
00:32:00,765 --> 00:32:03,115
and it's better to keep the flow of the gaze
638
00:32:03,139 --> 00:32:05,862
from the top left to the bottom right.
639
00:32:06,650 --> 00:32:09,905
Next, when you connect things together,
640
00:32:09,929 --> 00:32:12,952
this thing that serves as a sub-element,
641
00:32:12,977 --> 00:32:16,097
the closer the item "object"
642
00:32:16,279 --> 00:32:18,675
is to the face of the character and the main element,
643
00:32:18,699 --> 00:32:20,316
it gives a stronger impression.
644
00:32:20,340 --> 00:32:22,204
If you place this one further away,
645
00:32:22,228 --> 00:32:24,697
it gives a calm impression overall.
646
00:32:25,504 --> 00:32:27,288
It's the layout method of the characters and objects
647
00:32:27,312 --> 00:32:30,491
when you use the sub-element section.
648
00:32:31,452 --> 00:32:33,452
Let's look at another case.
649
00:32:33,476 --> 00:32:36,188
It's the case where multiple characters are deployed.
650
00:32:36,839 --> 00:32:38,818
The reason I split up the examples is because
651
00:32:38,842 --> 00:32:41,579
if we have multiple characters,
652
00:32:41,603 --> 00:32:43,603
we already have two main elements.
653
00:32:43,627 --> 00:32:46,780
Remember when I previously compared the character to the meat in a dish?
654
00:32:46,804 --> 00:32:48,213
So, in that sense,
655
00:32:48,237 --> 00:32:50,856
this is like a dish with chicken and pork.
656
00:32:51,194 --> 00:32:53,069
So, if we slip up,
657
00:32:53,093 --> 00:32:54,298
it could be an ambiguous dish
658
00:32:54,310 --> 00:32:56,689
without an actual theme.
659
00:32:56,943 --> 00:32:58,909
So when you're placing two important elements,
660
00:32:58,934 --> 00:33:00,797
in other words, complex information,
661
00:33:00,821 --> 00:33:02,454
you need to be very careful
662
00:33:02,466 --> 00:33:04,332
when you're placing your characters.
663
00:33:05,980 --> 00:33:07,607
A common mistake is
664
00:33:07,631 --> 00:33:09,840
placing characters side by side.
665
00:33:10,843 --> 00:33:13,043
Now, when you're placing them,
666
00:33:13,067 --> 00:33:14,736
you need to decide
667
00:33:14,760 --> 00:33:17,217
how you would direct the gaze.
668
00:33:17,241 --> 00:33:19,241
You need to decide if you'll split them into a 5:5 ratio
669
00:33:19,808 --> 00:33:23,415
or if you'll split them into a 7:3 ratio.
670
00:33:23,727 --> 00:33:26,540
In other words, you need to decide what's important.
671
00:33:27,275 --> 00:33:28,343
Like I mentioned,
672
00:33:28,367 --> 00:33:31,559
our gazes focus on the characters the most.
673
00:33:31,800 --> 00:33:34,411
And if an illustration has more than two characters,
674
00:33:34,435 --> 00:33:37,900
it means there are more than two main elements.
675
00:33:38,675 --> 00:33:41,129
So, how would you approach this?
676
00:33:41,153 --> 00:33:45,016
Like we did to this illustration with only one character,
677
00:33:45,400 --> 00:33:48,597
we divided what is the main element from what are the sub-elements.
678
00:33:48,621 --> 00:33:52,047
So we can also decide who is the main element between these two characters.
679
00:33:52,594 --> 00:33:54,144
This is used often.
680
00:33:54,168 --> 00:33:56,025
But if this doesn't suit you
681
00:33:56,049 --> 00:33:58,779
and if you want to split the screen
682
00:33:58,901 --> 00:34:00,029
at a 5:5 ratio,
683
00:34:00,053 --> 00:34:01,885
you need to put a lot of information into it.
684
00:34:01,909 --> 00:34:03,909
It's an illustration with a lot of information.
685
00:34:04,209 --> 00:34:06,292
Since there's a lot of information,
686
00:34:06,316 --> 00:34:08,603
you should make the other one look calm,
687
00:34:11,247 --> 00:34:12,594
or out of the two,
688
00:34:12,900 --> 00:34:15,159
you need to decide on it well.
689
00:34:15,322 --> 00:34:17,790
Usually, when you have multiple characters,
690
00:34:17,815 --> 00:34:19,267
there are several patterns.
691
00:34:19,391 --> 00:34:21,097
When it comes to placing the body,
692
00:34:21,878 --> 00:34:23,681
the reason why it has these patterns is,
693
00:34:23,773 --> 00:34:27,002
I said this is a really bad example before,
694
00:34:27,132 --> 00:34:29,359
the reason why I don't like this view is
695
00:34:29,383 --> 00:34:32,399
there are two starting points for the overall perspective.
696
00:34:33,141 --> 00:34:34,678
You can see the character on the left first,
697
00:34:34,702 --> 00:34:36,181
or the one on the right first.
698
00:34:36,429 --> 00:34:38,473
And both of them have nothing to do with a flow.
699
00:34:38,968 --> 00:34:41,533
That's why having different perspectives
700
00:34:41,557 --> 00:34:44,170
means two gazes exist.
701
00:34:44,194 --> 00:34:46,689
From the perspective of the people who are looking at the illustration,
702
00:34:46,713 --> 00:34:49,964
it becomes a very confusing illustration.
703
00:34:50,218 --> 00:34:52,217
Then if you want to draw an illustration
704
00:34:52,241 --> 00:34:54,997
of these two characters facing each other,
705
00:34:55,021 --> 00:34:56,559
then what should we do?
706
00:34:56,680 --> 00:34:59,743
You need to tie up the flow,
707
00:34:59,768 --> 00:35:00,719
somewhere.
708
00:35:01,299 --> 00:35:03,167
I'll show you how to tie it up.
709
00:35:05,732 --> 00:35:07,776
Let's say the two characters are at odds.
710
00:35:53,734 --> 00:35:55,570
This is one of the ways to use it.
711
00:35:56,273 --> 00:35:58,323
To explain this flow,
712
00:36:06,227 --> 00:36:07,523
let me explain.
713
00:36:07,547 --> 00:36:10,511
The flow of the body is
714
00:36:10,535 --> 00:36:12,106
placed like this.
715
00:36:12,130 --> 00:36:16,240
If you say that the eyes are drawn separately from the previous one,
716
00:36:16,264 --> 00:36:19,918
in the middle, they will meet somewhere nearby the waist.
717
00:36:19,942 --> 00:36:22,477
You'll be able to see that the gaze is tied up.
718
00:36:22,770 --> 00:36:25,342
So, if it's an illustration where the characters
719
00:36:27,607 --> 00:36:29,580
are just standing next to each other,
720
00:37:05,153 --> 00:37:07,054
the example that I just drew
721
00:37:08,968 --> 00:37:11,299
and the left example where we directed the gaze into one
722
00:37:11,323 --> 00:37:14,369
will have different amounts of focus.
723
00:37:14,949 --> 00:37:17,800
There are other kinds of information too.
724
00:37:17,825 --> 00:37:18,829
What are they?
725
00:37:19,272 --> 00:37:23,849
If you see the gaze here, you can see that they draw a line.
726
00:37:25,672 --> 00:37:27,963
So, we made a more natural connection
727
00:37:27,987 --> 00:37:29,597
between these two characters.
728
00:37:29,621 --> 00:37:32,175
One has a high angle, the other has a low angle.
729
00:37:32,199 --> 00:37:35,899
Also, it looks as if the bodies
730
00:37:35,923 --> 00:37:38,093
are intertwined with each other.
731
00:37:38,334 --> 00:37:40,442
So overall, the two characters
732
00:37:40,444 --> 00:37:42,388
look like they're stuck to each other.
733
00:37:42,479 --> 00:37:44,728
Unlike these characters,
734
00:37:44,752 --> 00:37:46,420
this composition helps
735
00:37:46,422 --> 00:37:48,420
to draw far more attention to the middle.
736
00:37:48,764 --> 00:37:50,965
So, when you have to confront the two characters,
737
00:37:50,989 --> 00:37:54,122
you need to tie the gaze like this.
738
00:37:54,278 --> 00:37:56,453
There are other ways to tie it.
739
00:38:04,246 --> 00:38:06,700
Let's say it was tied in the middle,
740
00:38:33,478 --> 00:38:35,248
with the arms crossed
741
00:38:44,122 --> 00:38:44,807
like this
742
00:38:45,184 --> 00:38:47,020
so it's different from the previous one.
743
00:38:47,044 --> 00:38:49,937
It's not tied in the middle but from the top.
744
00:38:49,961 --> 00:38:52,307
This is also one of the possible gaze adjustments.
745
00:38:52,331 --> 00:38:55,647
Compared to people standing still,
746
00:38:55,671 --> 00:38:58,023
it feels like it makes the illustration fuller.
747
00:38:59,546 --> 00:39:01,923
Compared to the one tied me up in the middle,
748
00:39:01,947 --> 00:39:04,588
it's going to be wider in the middle,
749
00:39:04,612 --> 00:39:07,882
so this is a diamond silhouette that we'll learn in the next class.
750
00:39:08,071 --> 00:39:10,740
It's a silhouette that gives a flashy impression.
751
00:39:10,765 --> 00:39:13,553
So even if you look at the illustrations at the top,
752
00:39:13,577 --> 00:39:16,163
you'll be able to see that it's much more intense.
753
00:39:18,494 --> 00:39:19,327
But, let's say
754
00:39:19,351 --> 00:39:22,029
these two characters are friends with each other
755
00:39:22,053 --> 00:39:24,053
and you want to show that.
756
00:39:24,077 --> 00:39:27,596
Then, their bodies won't confront each other
757
00:39:28,234 --> 00:39:31,007
but overlap each other.
758
00:39:40,265 --> 00:39:41,931
In this case,
759
00:39:41,955 --> 00:39:45,833
when you make these bodies overlap,
760
00:39:45,857 --> 00:39:47,767
the canvas won't be split into a 5:5 ratio.
761
00:39:47,791 --> 00:39:50,703
Instead, one character becomes the main element.
762
00:39:51,119 --> 00:39:54,303
If the canvas is split in a 5:5 ratio,
763
00:39:54,327 --> 00:39:57,474
the viewers would be taking in a lot of information.
764
00:39:57,498 --> 00:39:59,622
From their point of view,
765
00:39:59,646 --> 00:40:01,497
both the characters are important,
766
00:40:01,521 --> 00:40:03,027
and they would have to look at both of them because they're hugging each other.
767
00:40:03,051 --> 00:40:05,360
But, if it's a situation where they're hugging,
768
00:40:05,362 --> 00:40:07,278
it would be an intense situation.
769
00:40:07,774 --> 00:40:10,341
What is an intense situation?
770
00:40:10,365 --> 00:40:12,735
If they went from staring at each other
771
00:40:13,460 --> 00:40:15,436
or clashing with each other
772
00:40:15,460 --> 00:40:19,253
to hugging and embracing each other,
773
00:40:19,277 --> 00:40:22,400
then, the latter would have a more natural flow.
774
00:40:22,629 --> 00:40:25,017
So, if you have a more natural flow,
775
00:40:25,041 --> 00:40:27,886
you should set one of the characters as the main element.
776
00:40:38,382 --> 00:40:40,642
Use both low and high angles,
777
00:41:07,874 --> 00:41:09,454
and if you compose things like that,
778
00:41:09,478 --> 00:41:12,729
because the overall flow of the bodies overlap each other,
779
00:41:12,841 --> 00:41:15,620
the characters would look very close.
780
00:41:15,644 --> 00:41:18,265
So, this is used often to give that impression.
781
00:41:18,289 --> 00:41:20,815
When you use multiple characters,
782
00:41:20,839 --> 00:41:24,565
to make that the character's layout not too straight,
783
00:41:24,589 --> 00:41:26,267
I try to avoid such situations.
784
00:41:26,291 --> 00:41:28,767
And the main elements of the two characters...
785
00:41:28,791 --> 00:41:30,693
Will it be 5:5?
786
00:41:30,717 --> 00:41:34,465
Or are you going to make it 7:3?
787
00:41:34,489 --> 00:41:37,495
It's important to think about it.
788
00:41:37,519 --> 00:41:40,056
Usually, when the characters are overlapped,
789
00:41:40,080 --> 00:41:42,021
it's 7:3.
790
00:41:43,377 --> 00:41:46,362
And when the characters are in conflict
791
00:41:46,386 --> 00:41:47,997
and if it's about 5:5,
792
00:41:48,021 --> 00:41:50,118
regardless of the gaze,
793
00:41:50,142 --> 00:41:52,729
it's very effective to tie it up once.
794
00:41:52,753 --> 00:41:56,172
Whether it's in the middle or above,
795
00:41:56,302 --> 00:41:59,550
it doesn't matter if it's down there.
796
00:41:59,575 --> 00:42:01,687
Try to draw the attention
797
00:42:01,711 --> 00:42:03,389
and it's the same for putting them together.
798
00:42:03,413 --> 00:42:04,979
Direct the gaze into one point.
799
00:42:05,003 --> 00:42:07,066
Two friends who are strong-willed,
800
00:42:07,090 --> 00:42:10,482
you need to be able to make them neat and use them together.
801
00:42:10,506 --> 00:42:13,009
Mix the chicken and pork well.
802
00:42:13,033 --> 00:42:15,033
I mean, we should make ham or something with it.
803
00:42:15,387 --> 00:42:18,503
Let's wrap it up here.
804
00:42:18,527 --> 00:42:20,348
We have a long time to list the things we've learned today.
805
00:42:20,372 --> 00:42:22,372
Since we went through some difficult content,
806
00:42:22,396 --> 00:42:24,074
let's talk about it one more time.
807
00:42:24,212 --> 00:42:25,912
Let's start from the beginning.
808
00:42:26,435 --> 00:42:29,644
Today, we learned about how to deal with the gaze.
809
00:42:29,897 --> 00:42:31,345
The gaze in the illustration is
810
00:42:31,369 --> 00:42:33,695
about the order of how
811
00:42:33,720 --> 00:42:36,117
viewers look at this illustration.
812
00:42:36,219 --> 00:42:38,720
Most of the time, our eyes move from the top left to the bottom right,
813
00:42:38,721 --> 00:42:40,491
and it's based on the flow.
814
00:42:41,003 --> 00:42:42,691
In the illustration,
815
00:42:42,715 --> 00:42:45,576
you need to be able to hold onto that gaze for as long as possible.
816
00:42:46,165 --> 00:42:47,600
In order to do that
817
00:42:47,624 --> 00:42:49,843
the gaze has to flow smoothly,
818
00:42:50,029 --> 00:42:52,769
and there have to be a lot of parts involved.
819
00:42:53,431 --> 00:42:55,852
In the meantime, in the character illustration,
820
00:42:56,531 --> 00:42:59,290
the starting point of the eyes is determined.
821
00:42:59,512 --> 00:43:00,943
Most of them are faces.
822
00:43:01,411 --> 00:43:03,352
Then, when it flows from your face,
823
00:43:03,376 --> 00:43:06,946
we need to be able to attract attention effectively.
824
00:43:07,140 --> 00:43:10,499
So, we've divided the types of illustrations.
825
00:43:10,523 --> 00:43:11,950
It's something that we usually deal with
826
00:43:11,952 --> 00:43:14,200
when we draw the character illustration.
827
00:43:14,652 --> 00:43:15,679
Frequently used cases.
828
00:43:15,703 --> 00:43:18,288
First, when you use a single character.
829
00:43:18,600 --> 00:43:21,773
Second, when you connect the character and the object.
830
00:43:22,056 --> 00:43:25,818
Third, when you connect the characters.
831
00:43:26,184 --> 00:43:27,518
If I were to add one more thing,
832
00:43:27,533 --> 00:43:29,877
it'd be when the background is added to the character.
833
00:43:30,355 --> 00:43:32,374
In other words, in this situation,
834
00:43:32,398 --> 00:43:34,700
when you use a single character,
835
00:43:34,724 --> 00:43:37,633
we only have characters to see,
836
00:43:37,657 --> 00:43:39,414
even within the character.
837
00:43:39,416 --> 00:43:40,985
So that there's more to see,
838
00:43:40,987 --> 00:43:42,458
it's important to arrange it.
839
00:43:42,699 --> 00:43:46,100
So if the design is complicated, it doesn't matter.
840
00:43:46,124 --> 00:43:49,189
If the design is complicated, it's fancy even when it's just standing still.
841
00:43:49,213 --> 00:43:52,524
But those with simple designs can't do that.
842
00:43:52,548 --> 00:43:54,391
The one with a simple design,
843
00:43:54,393 --> 00:43:56,440
I want to draw it as a single illustration.
844
00:43:56,611 --> 00:43:57,705
When you say that...
845
00:43:57,729 --> 00:43:59,191
inside the character,
846
00:43:59,192 --> 00:44:01,788
we need to divide the main element and the sub elements.
847
00:44:02,584 --> 00:44:06,058
The main element needs to be highlighted.
848
00:44:06,683 --> 00:44:08,931
If you want to express it dynamically,
849
00:44:08,955 --> 00:44:11,130
break the gaze we had set before.
850
00:44:11,899 --> 00:44:14,586
On the contrary, if you want to do a calm illustration,
851
00:44:14,610 --> 00:44:17,038
try to maintain the gaze.
852
00:44:17,062 --> 00:44:19,472
If we proceed along it, we will be able to establish a route.
853
00:44:20,066 --> 00:44:23,047
That's it for the single character illustration.
854
00:44:23,071 --> 00:44:25,071
You'll be able to figure out the direction part.
855
00:44:25,499 --> 00:44:26,761
The important thing is
856
00:44:26,785 --> 00:44:29,333
to highlight what you want to emphasize.
857
00:44:29,357 --> 00:44:31,467
That's what the major element and sub-elements are.
858
00:44:31,491 --> 00:44:33,642
Let's think about them separately.
859
00:44:34,508 --> 00:44:36,929
I don't do that when I draw characters.
860
00:44:36,953 --> 00:44:37,971
Unwillingly,
861
00:44:37,995 --> 00:44:39,738
while drawing this character,
862
00:44:39,762 --> 00:44:41,865
the shoulder line is the key.
863
00:44:42,112 --> 00:44:44,047
If you want the face to be pretty,
864
00:44:44,071 --> 00:44:46,481
if you hope this one has a good vibe,
865
00:44:46,505 --> 00:44:48,926
and since the design of the outfit is pretty here,
866
00:44:48,950 --> 00:44:50,291
you are going to show this side.
867
00:44:50,315 --> 00:44:53,475
If you organize the illustration with the intentions
868
00:44:53,500 --> 00:44:56,396
that you are going to make people focus on it somehow,
869
00:44:56,420 --> 00:44:58,794
the feeling on the screen will be different.
870
00:44:59,599 --> 00:45:01,252
It's the same when you use things.
871
00:45:01,276 --> 00:45:03,530
The character's face and the object,
872
00:45:03,554 --> 00:45:05,868
the closer you put it, the stronger the image becomes.
873
00:45:06,078 --> 00:45:08,614
If it is farther away from the character's face,
874
00:45:08,639 --> 00:45:11,240
overall, it has a calm image.
875
00:45:12,009 --> 00:45:13,902
When deploying multiple characters,
876
00:45:13,926 --> 00:45:17,099
you can put the two characters in conflict or combine them.
877
00:45:17,123 --> 00:45:20,116
The flow of the body must be well arranged,
878
00:45:20,140 --> 00:45:21,583
and so on,
879
00:45:21,607 --> 00:45:23,842
as a result, when you configure the screen,
880
00:45:23,866 --> 00:45:26,318
it's better to direct the way you think.
881
00:45:26,342 --> 00:45:29,371
In the end, it's directing and that would be the recipe.
882
00:45:29,395 --> 00:45:31,685
In the end, the dish called drawing,
883
00:45:31,709 --> 00:45:33,788
to make it delicious,
884
00:45:33,813 --> 00:45:36,733
in our curriculum,
885
00:45:36,757 --> 00:45:39,768
the most important thing is this recipe.
886
00:45:40,813 --> 00:45:44,377
Today, we briefly talked about directing.
887
00:45:44,401 --> 00:45:46,444
Actually, it's a bit difficult.
888
00:45:46,469 --> 00:45:49,606
Of course, even if you didn't understand today,
889
00:45:49,630 --> 00:45:52,394
there's a silhouette class in the next chapter.
890
00:45:52,418 --> 00:45:53,902
And a design class later on.
891
00:45:53,926 --> 00:45:56,264
Colors and things like that.
892
00:45:56,288 --> 00:45:57,504
In going through those,
893
00:45:57,506 --> 00:46:00,352
we'll continue to talk about directing.
894
00:46:00,670 --> 00:46:04,456
In this curriculum, we reduced the basic skills.
895
00:46:04,480 --> 00:46:06,902
The reason why I'm emphasizing this part is
896
00:46:06,926 --> 00:46:11,121
with the original goal of drawing how you think,
897
00:46:11,145 --> 00:46:14,480
I think that fits the best with this direction part.
898
00:46:14,505 --> 00:46:15,520
Why would we do that?
899
00:46:15,544 --> 00:46:18,350
Usually, we don't even think about it.
900
00:46:18,352 --> 00:46:19,897
We often skipped this section.
901
00:46:20,187 --> 00:46:23,354
People come up with a specific character in their minds.
902
00:46:23,481 --> 00:46:25,800
But while drawing that character,
903
00:46:25,802 --> 00:46:27,386
what did you want to show?
904
00:46:27,441 --> 00:46:30,651
I hope you think about it again while taking today's class.
905
00:46:31,119 --> 00:46:32,401
When you draw this character,
906
00:46:32,403 --> 00:46:34,850
make sure you show the viewers what you wanted to show them properly.
907
00:46:34,851 --> 00:46:36,851
And double-check
908
00:46:37,874 --> 00:46:39,803
if you have second thoughts about it.
909
00:46:39,827 --> 00:46:42,988
I hope you use these ideas well when you organize your illustration.
910
00:46:43,836 --> 00:46:45,578
That's all for today.
911
00:46:45,602 --> 00:46:48,175
I'll go over more details in the next class.
912
00:46:48,199 --> 00:46:50,416
We're going to talk about the silhouette.
913
00:46:50,440 --> 00:46:52,346
And,
914
00:46:52,348 --> 00:46:54,474
we'll have some time to practice it.
915
00:46:56,985 --> 00:46:58,529
Today, we used a character
916
00:46:58,553 --> 00:47:01,017
to make up an illustration.
917
00:47:01,041 --> 00:47:03,697
In the next class, we will handle the way
918
00:47:03,721 --> 00:47:05,885
you can apply the gaze when you design.
919
00:47:06,582 --> 00:47:09,310
This gaze is not only used in illustrations,
920
00:47:09,334 --> 00:47:11,041
but you can use it when you design.
921
00:47:11,065 --> 00:47:13,818
Let's see how we can use it in the next class.
922
00:47:13,842 --> 00:47:15,224
We're going to talk about it together.
923
00:47:15,621 --> 00:47:17,459
Thank you for your hard work today.
924
00:47:17,484 --> 00:47:20,123
I'll see you next time.
67313
Can't find what you're looking for?
Get subtitles in any language from opensubtitles.com, and translate them here.