All language subtitles for [EN]Hyoungtaek_Nam_07

If you want to turn off the subtitles
click [setting]-[tooltips]-['on' for PC, 'close' for mobile]

Hello In today’s lecture, I will explain the process and

design elements of creating a concept sketch of characters,

which is crucial to the production stage of character development

Based on the materials of the idea sketch note from the previous lecture,

I have opened some references to a collection of photos

One is this idea sketch,

the sketch with ideas noted

The next is the mood board,

which is a reference that roughly

shows the overall impression

of certain images

And there are two shape references

One is a face reference

and the other is a reference with design elements

which includes costumes, weapons,

and various shapes

The character is a dinosaur hunter of the Joseon Dynasty

As a historical costume suitable for the time is needed,

I referenced a lot of old black and white photos

Even if fantastical elements are not applied to overall design of a character,

inventing a design point that allows one to infer what the character is

with only a few design related hints for visual inference

is important

The material of the clothes

of characters, with what material were the clothes made

We can also presume that hunters of the old days,

to adorn themselves for their symbolization,

may have carried the skin or body parts of animals

Furthermore, we can assume what material the dinosaur skin was

and where, how, and in what function

would the clothing fit naturally

To catch reptiles like dinosaurs,

what weapons or gears would this character have carried when hunting

This can also be supposed

After reviewing various data on Korean dinosaur fossils on the internet, I found that

there were medium sized raptor type dinosaurs, well known through movies,

named deinonychus, pterosaurs,

and brontopodus, which were large sized dinosaurs with longs

I think we should set this character as

a brave, professional hunter that mainly

hunts raptorial raptor type dinosaurs

The average length of a Korean raptor is around 3 4 meters,

which is close to the length of a small rubber boat

It has amazing claws of 4 7 inches, which is

close to the length of an iPhone that we use

Then, when hunting fast animals, up to 3 meters long,

and have outrageous claws and teeth, what should one wear

to not only protect oneself

but also move swiftly to chase the game

We may think

We can also imagine and deduce how one would have

enhanced gears and weapons

We may also think, when catching animals,

these dinosaurs, would they have used

nets to seize, matchlocks to shoot, or arrows to catch them

Now that we have considered the monumental design of a hunter,

among various design elements apart from these functional aspects,

we need to consider which design can effectively

reflect the impression and feeling of this character

Having set the target of the hunt, rather than hunting alone,

being included in a small, professional team that moves as a group

seams more realistic

Also,

if included in a team, we need to consider the role distribution

and the position within the affiliate system

We may also think about whether this character is a leader within the team

On the other hand, a lonely marksman who has an important technical role

in the team, does not get along well with the team but

has zest and grief of life might be more interesting story wise

And now, applying the feeling and impression of the character

in the design would be important

This can be interpreted in many ways in terms of design, but

the major design elements which show the character’s impression

are silhouettes from tone of clothes and pose,

and the design of items that the character uses with affection

In this case, like the description of a marksman,

they may be things like the character’s soulmate weapon

And if the design concept production

is set up to begin producing game characters,

although not yet important to the concept work we are about to do

at this current stage,

there are several things we need to consider to some extent

They are 3D form of design and technical limits

such as the animated part of layers of the character’s clothes

or simulation problems consequential to clothes and business phenomena

Considering these technical parts too much from

the beginning of concept development could

interfere with the process of creation

But if we start designing without thinking about it,

unexpected technical problems may occur during the production phase

and result in creating a design that is far from

the product of the concept that we have drawn

whether we like it or not, so it cannot

be ignored completely Therefore, on this matter,

before developing a concept with other departments,

the technical limits or the technical capability of the artists

needs to be sufficiently understood by the concept designer

And if such a problem occurs during concept production,

to immediately suggest other optimal measures,

it is important to have a concept planned in mind

Since enough design elements about the

character has been set, we will

get down to sketching

First, let’s set the pose, silhouette that is crucial to the character’s impression

Before setting the pose of the character,

we need to set the proportion first

When creating a common, ideal character,

we often use an 8 head figure But to add a sense of realism, we will

adopt the average body proportion, between 6.5 to 7 head tall

First, roughly draw a diagonal line like this

I am going to divide this into 8 portions with eye measurement

like this,

dividing in half

Now it is divided into 8 portions

Then we will set this middle part as the pelvis, the point of the pelvis

Assuming that the pelvic bone

is here,

like this here,

dividing it in half at this point where the pelvic bone sticks out

I am drawing the skeleton just to explaining it to you

So, this end part

If you look at the bone,

the human bone looks like this if simply put

This end, the tip of the heel is the starting point

because this is where the edge touches the ground

But depending on the camera angle, the front portion of the foot

may go further down or be completely horizontal

Because this angle may change, if we

set this as the edge and place the tip of this foot here,

we will not be able to tell if the edge of the foot

starts here due to a lower camera angle,

or if it begins at this line here

Is it this part, or this part here

So, because I do not think this is accurate enough,

from this ground set by the proportion, I set the heel as the starting point

Now we will put an indication of the foot

It is bent one more time at the knee,

and goes on like this

The skeleton may seem over exaggerated,

I drew it like this to show you how it is

constructed

a bit more clearly

Many of you may draw like this when drawing the human skeleton,

where you draw the bone and then draw on like this

The problem is that there is no structure in this case

The human skeleton is not structured

vertically in 90 degrees like this

They are slightly angled like this, in this way

They are angled in this way,

with the knees slightly tilted if you look closely,

and then the bone falls straight from this point like this

So, to support this structural weight

more effectively, the skeleton is built in this structure

We will continue building the skeleton

Let’s place the head here,

then draw this,

around here

Next, let’s draw the ribs

There are various ways of drawing the human skeleton

I tend to

draw it with a little more structure

The hands are drawn at the middle of the thigh,

around this area

The tip of the hand ends around this area,

halfway down the thigh

Let me raise the arm a bit

There are people with longer or shorter arms, but they are usually about this long

And this part here below the arm

is at around the same level of the ribcage

And between the ribcage and the pelvis here,

there is a gap of a size of a fist

when we clench our fist,

so bear this in mind

And although we have set the body as an 8 headed figure,

depending on how we adjust the size of the head

the figure can be adjusted freely in any proportion,

6 headed or 7 headed

If you want to decrease the proportion, make the head slightly bigger

or want to make a 8 headed figure,

make the head fit into this 8 headed structure here

like this

We will go with the bigger size

Like this,

after making the skeleton structure in advance,

we need to lower the opacity, the feel percentage

By lowering the opacity, we can use it as

try drawing different kinds of poses,

a guide to design a character over it,

or just trace the silhouette like this

We can also use this

as a guideline later

by lowering this

Things like clothes can be drawn on this

The pose that I draw is devoid of any pose

and was made just to demonstrate dividing the proportion of the body

To explain more about pose,

there is a gallery pose and a directed pose

Gallery pose aims to show the detail of characters’ costumes

while the directed pose is used to reflect the attitude,

the impression, feeling, or characteristic of characters

Directed pose

can express if the character is a passive person,

a bolder and more confident person,

a more provocative person,

or a mysterious person with a secret

through the posture of the body

and the position of these, the limbs

For example, posture of a confident character

includes wider arms, legs, and shoulder position

because of the consciousness of trying to look bulkier

Let’s try drawing this character for instance

Slightly

standing in sideways,

arms

bulky,

and legs too

This is also called the power pose

Feet are often spread out to about shoulder length

or a bit wider like this, but if we exaggerate a little more,

it can be spread out wider

It would feel more spread out like this,

with the character is emphasizing the body

Or

what else are there

We could keep the arms slightly away from the body

If the character is holding something like props,

then the figure could

turn out to express

more confidence

On the other hand, passive elements would be the opposite

If we were to draw a passive character,

the waist would be slightly bent like this,

the face would face either a little more upwards or downwards,

and the body would be pulled in

A weak posture where the limb

is

pulled in can be expressed

like this

The hands could also go behind the body

Putting hands behind the back

or bringing them

in front of the body

together with both hands

below the chest,

below the chest, holdingchest, holding each other,

can give the character a passive impression

Accordingly, we can make these two contrasting poses

So, depending on how far the arms and legs are from the body,

the given impression changes a lot

Let’s say we want to make a character that is provocative to viewers

What posture would give a more provocative feeling

We could do the following for provocative impressions

Here,

set the character laterally

with an angle and place

this arm

close to the beard,

with fingers pointing or changed to

other props

Poses like this

or pointing with fingers

could serve as provocative behaviors

And eyes looking to the front,

giving the impression that the character is staring at me or other people,

can express the provocative

feeling,

posture

of the character context wise,

Like this,

pointing with the hands…

Here we can add in a facial expression,

like a screaming face and so on

Like this,

like this

And a character that is hurt emotionally or expressively

can be drawn with

hands brought together

like this

in this posture,

which is also called a prisoner posture

So,

a pose in stiffened condition

with both hands slightly stacked like this

Folding hands behind the back is also fine

Arms that are

overlapped on each other

or folded in front of the body

can also represent the posture of people

with closed minds

The head could be tilted slightly like this,

expressed this way

And when expressing characters who

think a lot or are intelligent,

we can make the head lean towards

the front in a text neck posture

And how the hands

are positioned, whether close to the face or not,

can also express various things

A funny character can also be expressed through hand positions

If you want to reference something

with a deeper and more logical material on postures,

I recommend you purchase

a book called The Definitive Book of Body Language

I searched on the Internet and Kyobo Bookstore website

but could not find the Korean title

The title is written only in English

so I am not sure if it was translated into Korean,

but the book is about detailed research on

how the change in human psychology can affect

what type of posture, behavior, or body language

that a person expresses

So, it is more about the human psychology

of these kind of people… So basically,

the posture of Korean people may differ from

those of Americans or other foreigners

in different situations

However, how the universal public in general

take certain postures according to

which thoughts and feelings

and the general ideas and minds

can be obtained from this book

Therefore, I recommend this book

if you are interested in this area

For the concept character that I will custom design,

I will adopt the gallery pose or neutral pose for a production team

like game production or animation production team

and work on the concept and costumes

Even in the format of neutral pose,

it is possible to express the impression of

the character minutely in various ways

It can express impressions of larger movements in a more realistic way

that the cartoonic production representing cannot show

The impression can be created with the angle of light,

the eyes of characters,

or camera angles

Depending on how the background is created,

it is possible to express the impression many characters give

Now if you think that the skeleton is constructed to some extent,

select the parts of the character that stands out the most

and start drawing a rough sketch

We will review the various designs written in the idea note

and apply gears and so on

The rough sketch of the proportion reference is somewhat prepared,

so let me adjust the transparency of the sketch

Since the guideline is ready,

I will begin drawing the rough draft on it

First,

if we are to create a neutral pose,

let’s draw in an angle that is

slightly to the front side

Here, let’s make

the head

slightly face downwards

and give an impression that he is

staring at the side like this

I will add more opacity to it because

this can interfere with drawing the rough sketch

I will

only have this on since

we just need to see the razor

Now if we are roughly

drawing the gesture and pose,

like this…

I will briefly show it to you

As if the legs are slightly spread out…

Now here, for the center of gravity of the character,

I will slightly turn the pelvis

to the side

so that the weight is

given to the left foot

and add an indication to it,

and make this front foot stick out a little

Making it stick out a bit,

just like this

Now I will add an indication to the ribcage

The ribcage,

the ribcage

refers to the ribs

We just need to know

roughly where this bone here

in the middle of the chest ends

And if the ribcage is about this long,

the arm would end around here

So I will indicate this too

Moving onto selecting a design as I said,

we will work on choosing which elements should be

drawn with emphasis and read first

when a viewer sees the character,

that is, where the design

that needs to be read first

is located

So, if the emphasis is put to the face here,

we can plan out strategies to

focus on facial detail, or we could choose to prioritize

the part of the face near this arm and the arm and

add several more elements

that give more detail to this part,

whereas the design of the part below

is kept very simply

Or,

on this rifle possessed by this character

and the design of the rifle, we could add some minor designs that can

support them around this area so that

this part stands out more,

leading to its first reading

Then even if the face is not so fancy,

the weapon and the supporting design

will make it easier to understand the identity of this character

So, if you draw

If you look at the idea sketch, there are so many lists

If we apply all these lists of designs to

one place, on one design,

the design will become too crowded

A crowded design gradually decreases one’s ability to visually read it

That is, the design related symbolic format recognized by the brain

will not be recorded well

For example,

there is a funny story about my old teacher

My teacher would wave one hand with one finger lifted and ask us,

can you see this How many fingers am I waving

And make us guess

It was easy to guess when he waved one finger,

and also with three fingers

because he could not wave it fast enough,

but when he waved four fingers,

the students started to have a hard time guessing

The same principle is also applied to design

When too much design and

various types of elements are added, one’s ability to

read this design decreases significantly

So, selectively choosing just two to three elements

that can make the character most impressive

will make character reading considerably more effective

If you want to apply all these design elements,

make a variation

Do not try to apply the designs all into one character

but make more variations Here, two, three,

or even one would be enough

One or two

It is important to not exceed four or five

For instance,

let’s assume I design this gun

and consistently add in gears

Like this,

continuously adding this and that

Adding something here on the feet,

accessories on arms, and

some on the head

And now,

the eye would be in a state where

it does not know where to read first

In this case, the design would

become what we often refer to as

a busy design

It would become a very busy design

Instead, we could localize this

and design it

to have a single point

to focus on,

a weapon here

and a single strap here for example

Even in this case,

other complicating lines and surfaces

may be applied and combined here,

so this one design with

simple design elements

could produce various types of

complex elements and design

So, when choosing gears, props,

or even shapes

on clothes,

we need to be very careful

This here

can be referred to as a bad design

Try to make everything as simple as possible

If you look at these pictures

with the design elements in mind,

there are not so many

Obviously, parts that stand out here

would be the hunter’s gun,

this pipe,

some kind of belt he is wearing,

and this pocket That is pretty much it for gears

Same applies to the other hunters

A necklace,

a pocket,

a lucky bag,

and there is another big pocket here

There is a pipe

and a gun too

As you can see, the design elements are all

crowded around this area

Here too,

crowded around here

Same applies here

So even if we do not add all those design elements,

we can create a character’s image

that would leave a strong impression

That is what is important

In English, they often say

Less is more

Let’s continue drawing

I will try to draw

a rifle here

A matchlock, not a rifle

Imagining that he has a modernized matchlock,

let’s draw

the rough sketch

Drawing this here around the arm

and leg,

with long sleeves…

Before making a character, I would always

ask clients In what seasonal background

will the character be placed in

before anything else

This is because

when designing clothes,

since the game character would roam around

the game environment,

the clothing would naturally change depending on the environment

So, to check if there are

any changes

that may take place within the environment,

I ask related questions a lot

After this information is acquired,

I start designing a diversity of

base designs of clothes

For this character,

I am planning to

set it as summer

near

the rainy season

Now let’s draw the hands

What should I say,

since it is summer, he could be wearing

something that is

spread out more,

and I would like

the design to have material with

leather patched on it

So, like this,

made with dinosaur skin, it would feel like crocodile leather

I am guessing he would be wearing

a vest like

clothing

this type of finishing

Since we are still

not at the stage where we add in details,

let’s just indicate the general silhouette

It’s a rough sketch after all

A belt can be added here

like this,

and

if he is a hunter with a matchlock,

he would have a pocket or a pouch

Inside the pouch, there may be things like

gunpowder and such

A pocket

Let’s add a pocket

And for this hand,

I am thinking of

giving an impression that it is holding something inside

A cigar

He may be holding a cigar between his lips,

a cigar or a pipe

I think in this reference, the long

pipe that the men are holding is very impressive

I would

like to try adding that in

Like this

There is an easier way

to draw the hand structure

If the palm

is in

a square shape, it would look like this

From here,

when drawing knuckles,

try drawing it

like a robot’s hand

So if it starts

like this Or you could just

draw it as a hand first

and then add thickness to it

to make the process easier

Draw it as if you are drawing a robot,

indicating it as simply

as possible,

Shorter It is said that in the past, the length of the pipe

represented the person’s position

or wealth and used to boast this

How did they hunt with this

I am not sure if the length of the pipe

affects how the cigarette tastes

or something,

but it is very interesting

Then

I will draw the bottoms

a little longer

Longer

So, although this is a vest, I am thinking of extending it

to become longer

and add a dinosaur skin pattern

or material here

It should be slightly opened since the front foot it set out

Let’s indicate this

I will utilize the head drawn

in the last lecture a little more

to draw this character

Since there is an angle like this, we will

reference it and start drawing

Usually, I would create several head variations

and apply one of them to

the rough sketch of the character

Suppose that we have one variation

right now

Using this variation,

the sketch material of this character,

and referring to other pictures,

we will create a portrait

First,

let’s assume

the eyes are

cocked

slightly up like this,

and I was wondering if we should

make him look a little older

When I am sketching like this,

there is no need to obsess about

keeping the sketch

exactly within this outline

Right now,

the canvas I am drawing on is not a normal canvas

It is Photoshop

Since users can digitally always

change the size

of face or other shapes

freely

without

using set materials,

I will try to use

the digital benefits as much

as possible

I think they are

great tools that allow us to

focus solely on the design,

Photoshop and other digital tools

With other formulated tools,

when we make big mistakes, we must draw it again

or paint over the drawing

after covering it

This is inconvenient in many ways

since there are a lot of situations

where we must erase the whole thing

For now,

we will indicate where the shadow is at roughly,

and the position of the gear

Koreans of the past seem to have

very noticeable cheekbones

and are this I am not sure if this is due to

malnutrition,

the genetics,

or other reasons,

but the cheekbones are developed

as far as I know

On the head,

let’s make him wear

a bandana

like these people in these other references

This person has a topknot But his clothes are very fancy

But if you see the common people,

the topknot,

I am not so sure what it is called,

is not covered with the transparent object

for a lot of people in the material

Same applies to this person

Common people could not afford

to buy these head accessories

this person is wearing

So the almost all common people

would tie their hair up in

a topknot shape

as far as I know

For a more realistic feeling, making it slightly blunt and

giving it a feeling that is not organized and blunt,

I will draw the topknot

Now,

the position of the head

is not targeted correctly

In this case, copy this and then

move it to a corresponding location

The size can also be adjusted here

I think this size is good

Also, for the eyes,

I will add an indication like this for now

The eyes are too big

As the eyes get bigger,

the character becomes more cartooniccartoony,

so for the eyes, pupils,

giving less

indication

would be

more ideal

Just roughly express it in a silhouette

and add more detail to it

in the later stages

Draw the rough sketch

like this first

Now, since the pouch is blocked by the hand,

let’s lower the pouch design a little

Because of the hand design,

which is blocking the pouch,

we can barely see its design

If so, when a modeler sees it,

he or she may not be able to tell what this design is

We

should try changing

the design

For

those concepts,

the promotional concepts,

a lot of poses that need to be created

can be drawn

But for concepts that are to be used in the field

and shown as references,

the poses may be

more formal

This is the reason why

Because,

although the hand can make the pose nicer,

it would block an important design

Therefore, let’s

remove this hand again

and create a pose where

he is touching his waist,

or holding onto a belt on his waist

So,

when drawing a form on the body,

remind yourself that

there are lines like this

and draw the lines

according to the overall flow

The problem with not having these lines here

is that the character’s

form may seem somewhat

flatter than it should be

And so, moving the belt a little lower,

let’s make this character

grab

the belt

Right now the gun

and the design of the gun

is forming a large diagonal line

To break this down a little,

here we could add a pouch,

design of a pouch that

hunters would have carried

I think this size should be optimal for keeping balance,

with this size and this size

like this

From this here, this here, to this here,

the eye would flow accordingly

Let’s try to make the flow drop down

to this area here

For the detail of shoes,

as this foot it sticking out in

the front

wearing a straw shoe,

we will try to make the detail of the straw shoe

more prominent

The foot turned out to be large

It can be shrinked shrunk in this way

I often draw the foot size

too big from habit

The problem is, even if I unconsciously remind myself

to draw the foot smaller,

I often end up

drawing it bigger

But we can fix that with Photoshop

We can adjust it easily

Then to prevent this leg in the back

from standing out,

we can block it

with a silhouette when painting colors

I will add an indication

And now,

when visually reading this design,

viewers would start at the head,

then down to the butt plate of the rifle,

then to the pouch design,

and to the shoes

But the most important reading would be done at the face,

and then at the weapon,

pouch, and shoes in

a top to bottom order

We can control the direction of the eyes in this process

I think we could also add an armor like this

For the armourarmor,

to oppress it from standing out too much,

I will try adding colors or

Or

make the details smaller

so that it does not stand out

more than the face

Making it neater

And since the leg is too thin,

we will add more volume

to it by adding a structure that gives volume,

a design structure

I will also

make the form of this area

stand out a little more

The head seems too big, so I will shrink it a little

When drawing the image in detail,

be sure to check the navigator

shown here

This acts as a thumbnail

When adding details,

our eyes may get used to these details

If so,

inferring how the overall shape is being structured

sometimes becomes very difficult

In these situations,

utilize these thumbnails to check your process

I will stick this foot to the front a little more

The elements is slightly out of balance now

Now let’s add the design of an A frame carrier

If the character has an A frame carrier,

I have a reference to it here…

It is remarkable

For this elderly,

the structure of the A-frame carrier seems to be sticking out almost this much

I think we need to refine this too

Making it shorter,

let’s refine it about this long

so that it is not shown

It would not matter if it sticks out like this

It does not matter

Let’s give a little more indication here again,

showing there is a bale here

I think it should be okay to make

this matchlock a little bigger

For this,

I will give a separate lecture on prop design later

Since props are another very important design element,

when drawing rough sketches

of the overall structure of characters,

just give them some indication

like this,

setting a basic outline

for them

Just like this,

by indicating that elements should be

placed in this way,

we can try planning ahead

As it is rainy season of summer

Koreans of older generations

wore something like raincoats

made from weaving reed

to my knowledge

So,

So, if you see here…

I do not think they are Koreans,

I think they are Japanese

But

the silhouette of the clothes made of straw seems nice

So,

if I were

give a variation,

it would

turn out to be

clothes like Ghillie suits

that the snipers are wearing

or something similar,

or other unique

costume designs

So now with this variation,

I will continue drawing the rough sketch

I want to leave this part here

because

I would like some of these animal skin or leather

from hunted games to be placed as elements here

This is very unique

If you look at it, this part is unique

I would like to add this into the design,

but if I do,

a lot of existing designs would have to be sacrificed

Let’s just continue in a simple way like this

The character could be wearing a satgat

If we are to add a variation wearing a satgat,

to show how

the satgat ages from mundane use

and what type of damage is given to it,

I would have to search for more references,

if I were to add it

And we should also do research on

which type of satgat was used for what purpose

by the people of Joseon Dynasty

We could draw with the images in our minds,

but if we do so,

the sense of reality would be reduced significantly

So, although I am just simply giving an indication

to a rough sketch,

if this variation is selected

to move onto the black-and-white or coloring stage,

I will definitely look for

more references of satgat

and search for its materials,

weathering characteristics,

that is,

how it ages and

how straws are decomposed

If more variations

are to be given

For instance I like

this raincoat very much and would like to

make it longer

And for hats,

there are so many unique hats here

I think this is a winter hat

As for summer hats

Don’t you think this one is unique

He looks like a captain, a pirate captain

This one is also unusual

The common,

what were these called,

the gat, the Korean traditional hat,

for hunters,

to my knowledge, these were made with

expensive materials, these gat

But I assume there were smaller ones that the common people could wear

This is very unique, but

I think this gat is more unique

than these rounder ones

I am not sure

of their fixed use,

but the designs are

extremely unique

This one seems a little heavy

However,

since it would seem unique as a design element,

I will add a variation

Let’s make it smaller

Here, I am

thinking of adding

a design that covers

this whole part, made with dinosaur leather

So, in this lecture, by working on rough sketches of characters and setting

a story for the character, we have looked into understanding the designs

in costume production, the impression of characters expressed through

various poses, and ways to divide the skeleton for setup

In the next lecture, we will take some time to select the design that

we created on this rough sketch variation

and add more detail,

while also working on other

design-related elements

That is it for today

Thank you