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Hello.

Based on what we went through in the previous class,

we are going to change

the mood

of our character again.

Last time, we changed it to a cute vibe,

and a calm mood.

Today, I'm going to change this character

to be more aggressive,

and after that,

by applying various lighting conditions,

we'll take a look at

other examples.

Then first of all,

we're going to change it to a more aggressive image,

so we need to talk about what we need to do to achieve that.

Let's review what we went through

from when we expressed a cute character and a calm character

in the previous lecture.

The cute character.

Of course, we can't apply it to everything,

there are different ways of directing,

so it's good to know that before you move on.

Intensity.

Let's write down each characteristic.

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So I said,

adjusting the contrast

is important

to make a strong image

but one which is not too bright

at a glance.

And the main elements, and sub elements.

The closer the distance is, the better it would be.

And various point elements,

I told you it's important to apply them,

although the concentration might be a bit distracting,

by applying them that much,

we need to make a full screen.

I said it's important before.

And overall, an image with warm coloring

would be more suitable in some ways.

And what else?

A cute situation,

in particular, the situation

has to be given, and it's really important.

That's what I said.

And the one with a calm image,

unlike this,

your eyes need to be comfortable,

so the gaze has to move

calmly,

and slowly,

the main element shouldn't take up too much space,

so not stretching out the main element too much,

but by reducing it a little bit,

to make sure to focus on the areas you need,

and for the rest of the sections, you can see them loosely.

That's how it goes.

Main element and sub elements,

and the distance,

contrary to the cute character,

I placed it far away.

By removing

the things that get in the way around it,

such as point elements,

compose an empty canvas.

Like the saying goes, "less is more".

I've made a calm image

by composing an empty canvas

and by using cool colors.

We used the surrounding elements,

among them, in the previous lecture,

we used water,

in highlighting.

Cute characters also have quite a lot of the highlights,

and since this one is also a point element,

we applied it a lot.

But this has highlights slightly added.

So those are the differences.

Then today,

let's work on building a strong character.

Usually, the overall contrast

of the strong character,

compared to the previous two ones,

it needs to be much stronger.

So that you can have a strong image at a glance.

The bright image that I mentioned earlier,

is used for this.

The overall color of the character is white.

Then it would be nice if the background color is a bit dark.

Like this.

It's okay to change it to completely black,

or give it a reddish color,

or a blue vibe.

Either way,

it's better to have some contrast,

between the background

and this character.

And here comes a difference between this one

and the cute character.

For the cute character,

by placing a lot of sub-elements in the main elements,

we spread the gaze a little bit.

Why did we do that?

If you get to concentrate too much,

it feels like a movie.

So if you concentrate too much,

it feels like its more serious,

and it makes us feel serious.

So the one like a kid,

has to be distractive.

To give a distractive vibe,

I spread the main elements.

Then, this strong image is actually,

if you compare it

in that way,

it has to have a strong impression,

which you can sense,

at a glance,

so I'm not going to put a lot of sub elements.

And for that,

we're going to give it a different light.

Let's use the one

that we used before.

Of course, we can use these lights as they are,

I'm going to change the lighting a little bit more.

When we studied about lighting,

we talked about Soft Light and Hard Light.

This one has a strong image

and with the image that bursts out at once,

I'm only going to show

a certain amount of the information in a character.

We decided not to add the surrounding elements.

Therefore, you need to be able to show a lot of things in a character.

If so,

rather than a simple Hard Light,

do Soft Light, which is applied more smoothly.

So there are many layers of light and shade.

The bright part and the dark part,

and the darker parts with the very dark parts,

they're divided into different layers.

I mentioned there's more information.

Therefore, the Soft Light is a bit more

effective in my point of view.

Let's use the strong light

heading to the face

of the character.

Instead, let's make sure,

the areas where light doesn't reach,

will be dark.

The creature in the back

also has to be dark.

So I will change the background

to make it close to black.

If it's blue and black,

I think it'll fit this image.

It's going to give a strong and cold image,

since the key color

of this character is bluish,

to show

the bluish color effectively,

I think it's good to draw it

a bit cold.

I'll choose the areas with mint color.

What I'm using right now

is the Magic Wand tool.

The basic shortcut is probably

the W key.

So if you press W,

you can use it a little faster.

I'm going to make the overall brightness a bit darker.

And I'm going to make it hard to see.

But, I mentioned before that I'm going for a strong impression.

Then how come I'm making these hard to see?

Because the area I want to show clearly is

the face area here.

When I first composed this illustration,

in other words, when I was drawing the thumbnail,

I wanted to make the face the main element.

That's what I said,

and I'm maintaining it.

So, to make the face the main element,

I'm only going to make this part strong.

Like this.

Similarly, I'm going to make the character's eyes

give a strong impression.

Here's a tip.

If you're going to add a lot of descriptions,

it might actually be good to put in less description

to the area you want to highlight.

If there's no description of one area,

while there's a lot of description in the other area,

the area without description

will look a bit intense.

That's why this kind of coloring

works pretty well.

But like I just said,

with this coloring,

there should be a lot of description in the other areas.

So, you need to describe the areas around it.

I'll make the center of the head bright

and make the center of the teeth bright.

I'll put everything in the middle,

and I'm going to put in less description for the other areas.

And,

if you can't see anything in the area with less description,

it will be a bit boring,

Then it would be nice to

see some detail for that area.

This circled area

is the part we're going to focus on.

It's good to arrange a little bit of

what you want to show around it.

So, what element

can play that role?

Let's think about that.

I'll make the tentacles in front of us

darker like this.

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I'll draw it

as I show you

a bit of each part.

The light coming from the

back of this border

is called the Backlight.

The official name

of this light

would be Rim Light.

The light that comes into the border

of the character

makes the silhouette

quite clear.

It's one of the lightings

that's used a lot in game illustrations.

People use it to the extent that

they seem too dependent on Rim Light.

So it's important to learn

how to use Rim Light.

The important thing is

that it is a light coming from behind.

That's what's important.

It's all about coloring

where there is light,

so it's not about drawing outlines.

In the area where the hair is covered,

if you think that there would be no light,

it's better not to color this part.

Or you can add just a little bit of light.

Get rid of the areas

where there won't be light coming in.

It's something very important and simple.

But when most people

start to put in Rim Light,

many people draw it

like drawing a border.

You have to be careful not to do that.

Overall,

I'll keep

applying blue colors.

The Soft Light applied in the middle

and the color itself

will look bluish.

A cool color

can give off a cold feeling.

So, how are you going to show

the border areas

that you couldn't see?

I'm going to explain it now.

We're going to use the highlights.

It's similar to what we did before.

But I'm going to show the areas I want to show

little by little,

just like I did when I created a calm character.

I'm going to do this by

applying the highlights little by little everywhere.

Especially the belt.

This area where the belt is placed like this.

The most effective way to express that is

drawing the light coming from the top like this.

Do it like this.

Yes, that's it.

I'm not going to depict this in detail.

There are times when I don't express it

until it's actually done.

You might ask if you can do that,

because if you see as you work on it,

it might look unfinished.

But if you look at it from afar,

the belt area is very small,

and this area is the top area.

That's how it's depicted.

So, you don't have to depict anymore from here

since it already has three-dimensional details.

So, later on,

although we would depict this area

in more detail later,

this is how you would control the amount of description.

The subtraction itself,

where you exclude the detail

in the unnecessary sections,

is very important.

Especially for those who are drawing for the first time,

or for those who have the desire to draw cool illustrations,

and especially for those who

want to make something look cool,

I've seen a lot of cases where they can't control the amount of description.

The problem that usually happens

doesn't happen because there's no detail

or because they can't depict it well.

The most common problem happens because

there is too much description.

Because there is too much description,

and because you can't control the amount of description,

the amount of description keeps being divided.

There's too much description here and there.

The area that will be shown has been decided.

We decided to show the face.

I'm not going to show the bottom too much.

Then the part that won't be shown

won't need to be put into detail that much.

Because that area won't be shown.

The description

will be placed in the areas that you want to show the viewers.

Depict the areas in detail

that you want the viewers to see.

If the area

is not that important,

it's a good method to

just take out

the descriptive details.

I'm telling you this

because I hope

you can change your perception.

Description is not compulsory

in illustrations.

Gradations

or descriptions are actually sub elements.

It's almost done when the lighting starts...

Even if I just do this,

and if it looks complete from far away,

it will be a success.

But at that point, the description

would just be the sub element.

Rather than betting your life on the sub-elements,

and making the form distorted,

it's better to exclude some of the descriptions

and put them in areas that you want to highlight.

So, likewise, you can draw the best picture

you can with your current drawing skills.

In other words, if you're still not good at describing,

then you don't have to

forcefully increase the amount of description.

So, people usually ask me

how should they describe a character

and how they should touch it up.

I get a lot of questions like this.

But, touching up a drawing

has similarities with the actual drawing process.

So, your skills won't increase

right at once.

We'll see this later on and

I'll explain it further then.

But I normally call it brush power.

If you want to master

brush power,

you can say that it takes around a few years.

It's something you need to learn naturally as you draw,

so, for now, just learn that

you will come to acquire the necessary skills later on.

Don't focus too much on things like

gradation and description.

When you want to express a drawing,

especially a specialized drawing,

when you just use the lighting well,

you can make your drawing look complete.

In fact, right now,

I didn't put in too much description.

I only gave light to the top.

But wouldn't it be hard to

call it a proper description?

That's all I described.

That's it.

There's nothing special.

You can even count

the creases on the clothes.

I think maybe I drew around five.

So, even if I drew around that much,

the overall form of the illustration will be settled.

I don't even need more creases for this area.

It's not where you want to show it, right?

If you can just clearly show

this top area, which is the area we want to show,

you don't need to describe the rest of the illustration.

Remember that

they're the additional elements.

Please don't forget that.

I was talking about contrast before.

I think I told you that

when there's the Cast Shadow and the Form Shadow,

the Cast Shadow is the shadow between objects.

The Form Shadow forms because of

the object's three-dimensional form.

That's what I said.

I also explained

that because Form Shadow has less contrast

than a Cast Shadow,

people usually work on Cast Shadow first.

That's what I said.

With creases on clothes,

they are actually

a mixture of Cast Shadow and Form Shadow.

For example,

there are creases on the shirt,

like this one on the shirt.

For deep creases on clothes, when the light comes in,

there will be shadows.

This won't create a shadow like that.

So in this case, Form Shadow,

if it sticks out like this,

Cast Shadow is applied.

Of course, that works like that.

But let's take a look at this.

This one doesn't protrude up

that much.

The amount of light on this side and that side,

has no dramatic difference.

Unless...

So in a case like this,

it's important to express the creases,

applying low contrast,

to make it so that there's not much difference.

Just like this,

adjust it gently.

If there's low contrast,

when you look at it in black and white,

the difference between bright and dark parts

has to be tiny.

When you look at it like this,

it'd be good if the difference

between the bright and dark parts come out less.

It looks like this.

But the background gets dark,

and just by making the middle part stand out,

the illustration already gets

more intense to some extent.

Of course, I won't finish it here.

I said that

I'd put some highlights on the outer edge

to show you a few of the gazes,

but that doesn't seem to be honest.

So far,

what else can I use at this point?

At this point as well.

Let's think about it.

An element that gives you a strong impression.

It shouldn't be too cute.

Then,

what elements can I use?

I think there might be a liquid.

Because the character uses tentacles,

we can make

liquid flow around its tentacle.

We can make the liquid sticky

over here.

Or, I can just

draw an eye over here

in the mouth.

Then, it would look scary overall.

These elements would look good.

I can put in these elements around it too.

Scary, right?

Let's work on it by increasing

these kinds of things.

On the bottom of the background,

draw something like this,

to make it look like blood,

so that we could express

the violence

of the character.

Let's put them in place like this.

So that the middle part of the eye can be a point,

use the eye makeup that we used

when we were working on the calm character.

You can see that

the overall makeup we used

is similar to a calm character.

But, even so,

you should use the methods you used for creating a cute character too.

That way, we can make it have a strong impact.

For a strong impact,

make sure the viewers focus on a certain area.

Oh, this is where the viewers would focus.

You should decide things like that.

Other than that area, the viewers shouldn't be focusing on the other areas.

But, there should be a strong contrast.

It should overall be bright.

That way, the main element

will give a strong impression.

So, if you look at the difference,

when you show a cute character,

overall, it has an exciting feeling.

You should make it look exciting.

This is the main area.

These areas are additional areas.

So, when you express them,

you should highlight the main area,

but you also have to highlight the additional areas.

Let's say 0 is around here.

Then, if you're drawing a calm character,

you won't describe the parts that you won't highlight.

Of course, you need to highlight some areas.

But, these areas won't be that strong.

That way, it will be overall calm.

The main area.

With a character with a strong impression,

you won't highlight

the areas that you shouldn't highlight.

I'll dramatically highlight the parts I want to highlight.

Other areas won't be highlighted.

Main area.

There's this difference.

So, if you decide

how much you'll highlight certain areas,

your final result will be closer

to the image you want.

I'm going to add some liquid to the hat.

I'll make the overall gaze

flow downwards.

But, I'm going to maintain the character's calm gaze.

I want to give it a cold feeling.

If I wanted to make this illustration feel powerful,

I would have used a gaze that flows from bottom to top.

But if I use that kind of gaze flow,

I won't be able to

create a mood

where the character looks extremely calm.

So, I'll just use the gaze

that goes downwards.

The shape itself

looks like a triangle.

So, this object will make

the gaze go down.

Depending on your directing skills,

you can put these in, too.

It's okay to add them in bit by bit.

So, I can put it in like this.

But, if this becomes too much,

the overall mood could change.

Let's add just a little bit.

It'd be nice to have some fog.

I'll spray it.

I'll use the Eraser tool, too.

I'm going to use a fun method here.

I don't want to just use it like this.

So,

see this paint can on the left?

If you look at the bottom, there is the Smudge Tool.

But,

you can use it as another function.

Some people see it as a Blur Tool.

Please change this to the Smudge Tool.

This Smudge Tool pushes things out.

It's like pushing something with our hands.

The downside is that it uses up

too much of your computer's memory.

So, if your computer has low memory,

be careful when you use it.

If you make a mistake, the file could be erased.

So, it's good to save periodically as you're working.

So I drew some fog around it.

That Smudge Tool is the best tool to edit this form.

It's hard to draw while erasing everything.

It's a bit uncomfortable.

Like this, I'll create a fog

that lurks at the bottom.

It brings out the dreary atmosphere.

And for the gaze,

I'll make it

go to the bottom.

Make the gaze go right and left.

For the overall composition,

I'm going to use a triangular composition

that we learned before.

Using the overall triangular silhouette,

I'll arrange it

so that the gaze goes downwards

to create a calm image.

Let's use what we used before.

We used this briefly for creating cute characters.

Remember when we used the Fade Out effect?

As I said before, with this illustration,

the viewers need to focus on the middle part.

As such, unnecessary sections

should be removed.

I'm going to use the Multiply Layer.

Let's create areas

that can't be seen.

When I was creating a cute character,

I applied this lightly.

But, you don't have to apply this lightly now.

When it's bright,

it's actually better.

To make the background look more intense,

I'll apply lots of key colors,

and I'll continue.

Because I'm coloring the areas around the character's face,

it will be okay to apply it

when it's applied just a bit.

But if you apply it too much, viewers can't focus on the face.

The point is to control the amount of color.

Use it to make the drawing look more intense.

This character's mouth is currently blue.

It has a very unique design with a tongue.

So, I'm going to utilize this

and hang these objects.

It looks as if it's drooling.

The impression

will be very intense.

Before and after.

Of course, if I want to give it a serious look,

it's okay to leave these out.

Instead, you can add bloodstains.

If you do it like this,

the character will give off

a very strong impression.

I'll display it

with the other illustrations I did before.

These are the three illustrations that we did.

The basics.

Cute, calm, and strong.

You'll be able to see something different

from the overall impressions.

Like this, you can create various moods

with illustrations.

Even if it's based on the same sketch,

there's a difference in the mood.

So, it's important to use these

to create the image

and compose it

and express what you've composed.

You should keep practicing like that.

It's very important.

Now that we've done it up to here,

I'm going to create another mood

for this character.

I'm going to use another method this time.

Earlier, we created atmospheres

according to the mood we wanted to create.

This time, let's give a reason

that's a bit different from that.

This time, I'm going to create canvases

that become different depending on

the color you want to use,

the lighting you intend to give,

or the background you intend to use.

Background color.

While learning about lighting,

we studied background color.

Now, let's use it

in the actual drawing process.

What kind of backgrounds

are commonly used?

There could be an outdoor background.

Especially, we could use different times of the day

such as morning, afternoon, evening,

night, and dusk.

You can use these times roughly.

Then, let's see how we can show them

based on the lighting.

Let's edit as we go on.

First of all,

let's say you want to organize

a daytime background.

Let's think about the characteristics of daylight.

I'm going to draw the backgrounds.

I'm not going to draw it in detail.

For people who think

it's so hard to draw the background,

then, it'd be good to Photoshop your illustration with a reference.

When you use photos,

it'd be nice if you do the filtering as well.

If you click,

[Filter] - [Filter Gallery],

if you click in here,

a Photoshop window pops up,

things like this come up,

and there are many effects.

Try to control anything,

find the effect that you want,

and apply it.

By using that to edit the photos,

you can make it as the background of your illustration.

First of all,

I'll draw one and use it.

Let's set it up to be outside

on a sunny day.

There are clouds,

and although it doesn't fit the character,

you can imagine that this character went out on a picnic.

I'll make the floor look like asphalt.

Something like this.

It becomes a bright background.

Let's think about the conditions of daylight.

What color is the sunlight?

Actually, the sunlight

is called white light.

It includes all kinds of colors.

But among them,

it's a bit on the yellowish side.

If you look at pictures of the sun in space,

it's burning yellow.

So much so that,

to a certain extent,

the yellow light is a bit strong.

So, the sections which are exposed to the sunlight

tend to have

a bit of a reddish color.

So, under the premise that this character

is the area that receives light,

overall, a yellow color

is added to the canvas.

The shadow area,

well, it's different case by case,

but basically,

it will have a bluish color.

Why does that happen?

With shadowy areas,

less light comes in

compared the lighted areas.

What does that mean?

When there is an object,

there is the lighted area

and the areas without light.

The background color is blue

and the light color is yellow.

This area here, where it receives strong light,

will have a strong yellowish color.

With the background color,

there is the main light,

and the light that's reflected around it

comes in.

So, it's basically reflected light.

It's been reflected once.

It already

got rid of light from someplace else,

so it's naturally weaker

than the strong light coming from the main source.

So, this area, where it is affected a lot by light,

will have the same color

as the light itself.

Understand it like that.

But, there are areas that aren't affected by light.

The shadows.

Because this shadow

isn't affected by the light a lot,

if we put it the other way around,

the light doesn't reach the shadow.

So, it will be more affected by

the background color.

If we made this area yellowish,

this light and shadow area

will be more bluish

since that was the background color.

Think of it that way.

Then, why does the outdoor background

have a blue background color?

Well, it's simple.

The sky is blue.

In the air, there are

a lot of blue light particles.

So, blue color is reflected.

Think of it like that.

So, the shadows in the character,

in other words, these shadows

that we worked on before,

become blue.

Then, we are now going to apply

the tertiary colors of light and shadow.

When you're applying tertiary colors,

just follow the color of the light.

What color was the light?

It was a yellowish, reddish color.

I'm going to use

a Normal Layer.

Like this.

So, we now have

a reddish tertiary color.

So, I described the tertiary color

by using the outer light.

But, if they're in the same amounts,

it won't look pretty.

If you've applied that,

and if you don't like,

you will want to edit it.

Then, what can you do?

I'll copy

the same layer in.

Copy the same layer in,

and apply the same effects.

If you see

the top right here,

there's the Opacity slider.

Slide the Opacity

to 0%.

What happens

when you slide it?

The color we colored in disappears,

and only the outer light will stay.

Like this.

What we're going to do now is

right-click on the layer.

If you see here,

you'll see the menu option [Rasterize Layer].

What is this?

This combines

this outer light and the layer underneath it

into one.

The opacity is set to 0%.

If I rasterize it,

the Layer underneath it disappears

and only the outer light

that we colored on

the outlines will stay.

As an example, I will use the Selection Tool

to select an area like this.

Then, only this outer area

will be selected like this.

Then remember how,

I applied a Multiply Layer?

I'll make it into a Multiply Layer.

If I turn the above Layer on,

then the shadows

and the outer lights will be separated.

And, within the outer light that's been separated,

I will erase the areas I don't like.

Now, over here,

I'll add a new Layer.

This time, I'm going to apply

the Overlay effect.

I said I was going to give it a yellow color, right?

In the areas that receive light,

I'm going to make sure

that a bright yellow light comes in.

On the other hand, the areas that don't receive light

will receive some blue light.

Especially, we learned that for the background objects

an air perspective is applied,

in the previous lecture.

When we apply that,

we add a lot of the air color.

So, in this case, we would add in a lot of blue.

Make sure to apply bluish colors

to the hair.

It's a good area, right?

Like this.

Because it gets sunlight,

it would be natural that

the amount of shadow decreases.

If I do this,

it will be an illustration

that receives strong sunlight.

Now, I'll add other lights too.

This is example number 1.

Now, I'm going to make

an evening background

with a sunset.

When we add sunset,

the blue background color that we looked at before,

will be spread out like this.

When there's sunset, the sky is usually orange.

With the evening sky,

the sky itself will be an orange color.

So, the background color that is applied to the character

will be changed to a red color.

The light that's coming in is a yellowish color,

and the background color is red.

So, the color would overall be uniform.

Let's change the sky color first.

The tentacle in the back

disturbs our eyesight, so I'll exclude it.

So, the overall illustration

will be a piece

with a strong orange color.

Also, the character

will be an overall orangeish color

compared to its original color.

So, the original color will be changed a lot.

We learned this previously with lighting, remember?

When a blue object receives yellow light,

there's no color that it can reflect.

With the Color Range tool,

I'll make these areas

very low saturated -

in fact, they'll be a grayish color.

So, this will be my workflow.

Now, I'll apply the shadows.

I want to utilize what I've used before,

but the light direction has changed.

So, I'll apply that change.

I'll make it a bit dark.

This one had a bluish color.

So, it doesn't fit this illustration.

I'll make it a bit more reddish.

Now, with this lighted area,

I'll add a new Layer.

I'm going to add a Screen Layer.

This time, the light won't be completely white,

but instead, it will be a yellowish light.

The direction of the light will be

coming from the top left.

I'll adjust the opacity

to make sure I have the brightness I want.

The light that comes right in front of the character

is a very weak light.

So, it will be kind of like a Soft Light.

I'll give more light to the character's face

like this.

I'll adjust it so that

the facial area will be emphasized.

Let's make it a bit more of an orange color.

If there's light coming in from the top left,

I told you that

you need to observe carefully

how the light will come in

and which areas will receive light.

So, when doing that,

it's important to observe the object as its basic form.

You shouldn't perceive it as

a cloth, a skin, or an eye.

Is it headed towards the top left?

Or, is it headed towards the top right?

These aspects

are more important.

Because it is all about lighting,

describing the texture

will come in later.

We're not describing the texture now.

Just simply think of

whether a certain area

receives light or not.

Think of these things.

Because of the arm on the left,

a Cast Shadow would be formed.

There could also be areas

covered with hair.

You have to consider these things.

An eyeball also has three-dimensional characteristics.

When it receives the light,

it could shine.

But, the description of the three-dimensional aspects

will have less deformers applied to it.

Because there are less deformers,

it will look less casual.

So, you can apply it depending on the situation.

If it looks pretty after you've applied it, use it.

If it doesn't, don't use it.

That's all.

It's good to add tertiary colors as well.

I'll use the outer light

to add in the tertiary colors.

It will be good if these colors

are overall reddish.

If the inside of the hair

and if the inside of the clothes

are just cotton,

it will have this color.

But, there will be some modifications.

The character's clothing

and the mint color on the hair

is made up of material

that shines.

So, in that case,

it's okay to

apply the colors

of these materials.

But, if you apply them too much,

the impact of the light will be too weak.

So, add in just a little bit.

Make sure of that.

Just little by little.

Just make sure the light impact isn't weak.

If you want to describe the background as well,

and if it is a moody background,

you can put in these.

Things like barbed wire.

We can add a warning sign

to the pillars.

Draw it

so that it matches

the character's perspective.

In character illustration,

the background is the sub element.

So, don't focus too much on it.

But, if you want to show the background,

then,

you should focus on it.

With illustrations,

the subject changes depending on

what you want to show.

An illustrator

is someone

who depicts things.

So,

I'll add in some highlights.

I won't make it too sparkly.

Because with sunsets,

the light is subtle.

So, now that we're done,

we need to do some editing.

I'll create a new Layer.

I'll use the Overlay function

this time as well.

I use Overlay often.

I'm going to make the light spread out,

on the top left.

I call this

scattering light.

Actually, light

isn't something

that comes only in places that it should,

in a logical way.

It will be reflected all around.

Since the light source

is the Sun,

it's too big to say that it's a dot.

So, light spreads around the places it reaches.

So, around the areas that are lighted,

add Overlay like this,

and make it bright.

Then, it will look like

a more natural, pretty light.

The overall illustration will be fancier as well.

So, make sure to

apply the scattering light.

So,

I also described an illustration

with the sunset light.

Let's draw

another illustration, too.

The sunlight that we drew before.

I'll give it some highlights here.

The eyes look too scary.

And the sunset.

We saw the differences

between the two situations.

This time, the background will be set

at night.

We applied daylight

and sunset,

so, now, it will be a night sky.

I'll use the Curve Tool

to make it

dark.

Make the character

dark,

just like this.

I'll add the blue light, too.

The mint color of the character

could become slightly stronger

than the previous color.

This is because the blue object

received blue light.

So, for this object,

there's more reflected light.

So, a stronger light

will be applied.

But, it will be blue.

Mint is closer to a green color,

and green

is a mixture of yellow and blue.

Overall, if I edited it

like this...

Let's edit

the tentacles, too.

Now, I'll add

more light to it.

The gray part doesn't have

a strong blueish color.

Select this area as well.

Using the Color Range Tool,

select, and then,

I'll apply a bit more blue.

I want it to feel bright.

Here,

I'll make a Layer.

Since there's darkness overall,

now we can give it some light.

Using the Screen Layer,

I'm going to apply some Backlight.

I also told you

we call this Meme Light.

It's important to work while

you think about the areas where the light comes in

and the areas that don't.

Character and background.

The character is dark now,

and the background is dark, too.

As such, the character and the background

should be separated.

You can give it

some gradation.

When we were analyzing references,

we did this part before.

Do you remember?

In this case, the area where the light from the back touches

will be the areas

that I'm painting as the Back Light.

That means

all the parts that I'm not applying Back Light to

are in shadow.

What's a shadow?

It's a part where there's no light.

Since this area doesn't get any light,

you might ask, shouldn't it be just black?

I explained this part before.

In this area,

the light is reflected from the surroundings

and the background light is coming from all directions.

So, that's why

we can see this character.

If it weren't for that light,

this character would be black,

and only the Back Light could be seen.

To show you an example,

with only the silhouette,

it will be like this.

As expected, with this process

you can turn off the Pen Pressure.

If you're only thinking about the area,

do it like this.

As expected... the tertiary colors.

This time, it's not just the orangeish colors.

It's getting blue light,

which is the moonlight coming from behind.

So, the tertiary color will also look a bit blue.

Let's put it in like this.

But if I do this,

the drawing will be too bland.

Some areas can't be seen clearly.

It's kind of boring.

From here,

you need some direction skills.

When we draw characters with a night background,

you need to think that the light coming from the front

has some intensity.

When I was working on the sunset background,

I used the light in the middle as Soft Light,

and I applied some light to the lower part of the face.

Similarly,

with the night background,

I made the bottom look brighter,

to get some light.

You can increase

the density of the light

to increase

the visible areas.

People see the bright areas first.

To put it the other way around,

it's hard to draw attention

with dark spaces.

If this illustration goes wrong,

it could be an illustration that doesn't have anything to see in it.

So, to avoid doing that,

so that the viewers can definitely feel they are seeing something,

I'll add a lot of highlights.

I'm going to make the eyes have a strong impression.

I'll show it to you like this.

Nocturnal animals

have shining eyes at night.

They actually look really cool.

You might think they look scary.

There are a lot of elements like that.

So, I'll make these elements

like they're glow-in-the-dark.

I'll add a lot of highlights.

To make the drawing look shiny,

when we put highlights on the hair,

people often mistake something.

Let's talk about this first.

When you want to give it Back Light,

and when you highlight it,

some people apply it like this.

You might ask yourself,

what's wrong with that?

The character is not receiving

the light from the left.

The reason why this character got brighter is

because it received

the light from the side and the back light.

So, that's it for now.

So, this area is the shadow.

The light that this area receives

is not this light.

It's not the light that came from the side.

The light that this part receives

only comes from the front.

So, as the highlight goes to the left,

there's no need to get bigger.

When you color it

and when you add the density later,

the more you go to the left,

there's no need to be bright.

There are many people who misunderstand this.

The light that's received here

only receives the light from the front.

Only the background light is received.

So, only the areas that are close to our eyes will get brighter.

So don't get it wrong.

People often make mistakes here.

The tool I'm using right now is

the Dodge Tool.

The default shortcut is the O button.

The tool that uses this button,

which is the Dodge Tool,

brightens up the picture.

If you use it too much, the picture will look like it's burning.

So, please don't use it too much.

Like this,

I'll make the middle area

brighter more effectively.

I'll apply some more blue.

Do it like this.

Since it's nighttime, I said I'm going to add some sparkles.

That's what I wanted to do.

I put some sparkles around the character.

Like this, you can now create

illustrations with a night sky.

Let's look at the difference from the previous one,

and let's see if it looks like night.

So, let's list the differences.

With this illustration,

I made various variations.

There's a clear difference in the atmosphere.

If you look at the illustration examples I gave today,

you can see

that the time has changed.

So when you make an illustration like this,

you need to tailor it to the nuances

you want to create.

So if there's a light you want to use,

with the light direction,

you can create illustrations according to that.

If you look at this,

you can see that the mood changed gradually.

First,

with the bright light, we gave it a cute and warm image.

For the second one,

it was a pretty and bright image.

The third one was

a strong image.

Depending on the light you want to use,

the mood changes.

So it's important to change the illustration

depending on the lighting you want to give it.

Like this,

with one illustration,

we drew them in different types.

What I want to say to you

once more is,

just because I emphasized light,

don't be too obsessed with it.

What am I trying to say?

Drawing is something that can be done freely.

Especially with casual drawings,

you can draw

much more freely.

Because of that, you can direct it like...

for example,

by changing the background to purple.

Make the areas

such as the light and dark parts

of the character

like this.

Overall, it's important that the parts that receive light

become brighter.

If it becomes bright in black and white, there's no problem.

So if it gets brighter when you see it in black and white,

even if the saturation gets strong,

it's not that important,

no matter how the hues change.

In painting,

if you think about the picture itself,

it's not that important.

When you brightened the middle area like this,

or change the color like this,

as long as they suit each other,

it won't be a problem.

The way to use this Lasso Tool is,

you don't even have to use a drawing tablet.

Sometimes, I just work with a mouse.

Most of the time, of course, I use a drawing tablet.

Even if you go in like this, you'll see that

it still becomes an okay illustration.

In other words, in the illustration,

the coloring

is something really free.

Because of that, you can make many variations

by yourself like this.

Even if I draw only one piece of illustration,

make various examples.

I'd like to emphasize that

if you increase the number

of the type of illustrations you can draw,

it would be good.

That's one of the things I'd like to emphasize.

While talking about coloring,

there's one last thing I want to say.

You can control the contrast.

I'll tell you in the description part,

but later on,

you can use

many editing methods.

This can also be a way

of drawing an illustration.

I'll put it on display.

So like this,

we learned how to make a full illustration.

Next time, I'll pick one of these

that I like the most,

and I'll tell you

how to finish it,

up to the completion stage.

You will then learn how to

change the expression depending on the mood.

It will be good

if you can choose how to color your illustration

according to

what kind of illustration

you're going for.

Let's wrap up today's class.

I'll see you again

in the next lecture.

Keep up the great work.