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Hello everyone, today’s lecture

will involve selecting one costume design

from the character variation in the previous lecture

and refining the shape so that it becomes clearer

In the variation process for the character concept production

I have done a rough sketch

variation focused on the lines

In the process of creating variations

or methods, there are no fixed rules

or processes If you are able

to show any type of variation

in the designed idea and the intended form,

reflect the design requests of the client well,

and are able to quickly provide
various design alternatives,

variations of any format

can be presented

If you have seen internet portfolio sites

or saw various articles on concept development

images, this would be a

familiar image

These works are concept designs

that I have selected out of the works

I have done a long time ago

In the process of making these variations

using the silhouette of the character

to create the variations

is one of the methods that concept artists are using a lot,

and this is one of the images that I had

when preparing for my portfolio,

and people who make portfolios

would likely have this

Design in this method is one of the ways

to output various silhouettes very quickly

like a factory

If for the game

such as mobile games or stylish game, if the screen is small,

the character involved

or creatures, etc ,

and if the graphic is low as a design

silhouette must grab the viewer’s attention,

particularly in designing 2D characters

this design method is the most efficient

However, for costumes that must recreate

realistic details, in terms of design,

this type of variation method results in design simplification,

too many designs are

impressed

This is easy to read

and has various silhouettes created in a short amount of time,

which may be able to show design possibilities

but will not be able to show the stylish image of

the character impression and the design

coming together in harmony

So this is very simplified

the highly lightweight design

causes difficulties in visualizing the image

This type of silhouette design is less recommended for presentation purposes

,but rather for when you want to check

the status of your character designs

or when you want to come up with ideas

In my experience, while some directors

may like such designs

I have seen many directors who choose to ignore

such portfolios with a lot of

silhouette designs in it

If you choose to use the silhouette design regardless,

instead of an overall blocking

design like this one with shadows,

a partial silhouette design could be efficient

The way to do it is

making a part of the costume design as silhouettes like this

If you make the entire design a silhouette

in terms of very simplified design terms

from far away

you can recognize that they are different,

but there is no way to see

what design composition

is used in developing

this character

That is if you were to just present it like this

Just visually,

if you can think this one is more noticeable

, then that is probably the best conclusion you can get

If this was a 2D character, or

involved in an action game where the story isn’t too much in play,

because the main objective is to be visually appealing,

this method could be used

While such design process is very efficient,

what we are dealing with right now

involves a design relationship where the various factors

are used in order to portray

this particular character

alongside the character

So if you draw many silhouette designs

with complete blockings,

for clients that want to see the narrative, meaning

a more complex design of the character,

it would be very difficult

to help them understand

So if you organize this in sections

you can see that

there is a hat,

the person is wearing straw clothes for rain,

there’s a gun,

and the clothes are like this

You can see that they could be wearing some kind of boots

or sandals, etc

and these things could add to the story of the character

This is more advantageous

compared to a silhouette

because the silhouette here forms a kind of grouping

This still gives you a visual guide

on what design catches the attention more

when you see it from far away

while at the same time

providing more information about the character

in terms of the design factors

So, a portfolio with materialized silhouette design

is effective in showing the client what designs

and what production method is being utilized,

as well as whether the story is the main focus

in the character concept production

or if the visual recognition must be very powerful

in this design production work

The products that are already completed and are being sold,

meaning works that are already published are referenced

with preparation for selection,

so the portfolio can be

most effective for a display perspective

in my opinion

So, I have briefly discussed

silhouette variation designs

and their double edged sword nature

Now, I will start with the demonstration on how to complete the rough sketch

So, out of the three variations,

which one

would

result

in a better design with more work

For instance,

which one of these would the client

prefer

Try and think about this in your imagination

When I did character design work

with other clients or artists,

meaning art directors,

during that process

a director’s comment saying this is good or

this feels nice

often decided how the rough sketch would be done

But in a complex manner,

I think this design is very unique,

I like this design,

but this looks too long,

This is unique, but

wouldn’t a short raincoat go well together

In this complex way, so for instance

In this variation, I like these sandals,

could this be emphasized here

Like this, you could

look at the rough sketches

and combine them to make the final decision

Let’s say for this instance, the client

wanted more development on the hat,

liked how this raincoat like

clothing that stops the rain

gives a more imposing presence

which is good,

but said that while this kind of satgat

looks mysterious and cool,

it would be difficult to see the character impression in the game,

and suggested that the hat

could be smaller

Let us assume that such interaction took place

So for the base,

the body base, we go with this design,

and

for the hat design,

let’s choose this hat and go from there

Also, since for these props

the variations were not formed yet,

so I will look at the small parts in detail

while I complete this drawing

If the choices were made like this,

I could just combine all of this

if I am pressed by time

and move straight to the sketch polishing

However, in most cases

after the selection is made like this,

I would combine

and redraw

the rough sketch,

and after the drawing is complete

I would create another four to five variations

In this process,

with these ideas,

I would continue to make

selections

again and again

Presentation,

followed by selection,

from which

another two to three variations are made,

then another selection, and so on

Think of it as filtering it with a sieve

After that, with the finalized

design which

has the rough sketch more or less completed,

then the polishing is done

But I won’t continue to make

variations with this particular

topic, and

since in the production process

showing how to

polish this rough sketch

is more important, so

this lecture

will focus on the sketch polishing

part of the work

Here, if the base

of the design is important, I would just copy it

I call this the paper doll

or the paper doll process,

where you know how we take a paper doll

and keep changing clothes

to make the design

Think of this as being similar to that

Instead of drawing the rough sketch again,

you can just select this,

copy, and then

try

fitting different things to it

This is a method that I often use, where

when I draw the clothes

I separate the

sections of the clothing design

with layers like this, so

if this is the first base

I would divide all the keywords that the character has

and place it on a different layer

Guns or other props, etc

can all be divided in terms of layers

and through turn on and off,

you can the layers visible

or invisible

with

such options

For example here,

there’s one,

and I can select,

copy,

place in a new layer

like this,

and start with creating variations

as such

If only the boots were changed,

then I can again select this

and create more variations

If the character has a satgat,

then place it here like a paper doll

and turn on and off

like this,

then create

more variations

Going on with this can result in

endless variations

I also often

use this paper doll process

This allows maximum production

of a lot of rough sketch variations

Even after polishing,

due to certain requests from the director or the client,

it is likely that you would have to continue making variations from there

However, when the polishing is complete

a lot of

design choices have already been made,

so there won’t be a huge change

in the silhouette or the design

So, very small

minute changes could occur,

in which case you can use such paper doll type

layers and

create variations related to changes in very small design details

I often make variations in this way

So,

right now,

this is the variation I would

like to go with

Let’s try and adjust it further

as it should fit the rough sketch

Then

also

for the shoes

and the feet area

I can match the design

like this

Let me move this rough sketch to another canvas

Here is a new canvas,

then paste

I will have the canvas slightly bigger

when making the design

Now, I would

really need a lot of help from references

How good is the quality of the reference,

with quality meaning

the detail that the image is able to give

How well displayed is the detail language

such as colors, shapes,

lighting information, etc

I have used this black and white data

intentionally in order to add more

historical sense to it

As I have mentioned before,

I drew the satgat using my imagination,

and it was only indicated to an extent

But instead of indicating

these shapes in your imagination,

this type of documentation using

solid data is effective

For example,

I have searched for

various shapes of satgat online

There are a variety of shapes

The satgat that I could imagine

, if I were to draw it would just be this shape

From here,

I make this with straw

with this part a little worn out

I don’t have a lot of information in my head

But if I do a search and look at it,

I can see the various

ways in which this

could be drawn

I am in awe when I search for these things

Having a lot of visual reference information like this

makes drawing the variations much easier,

and the drawing could fit

the historical reference to a certain extent

So, the drawing part,

the act itself,

is in fact a very easy step

The really important part comes before the drawing

where you have to collect

abundant information very well

I think that this reference

is in fact more important than the actual drawing,

so when I am designing a character,

if I have enough time,

I would spend two to three days without drawing

and just focus on finding the data

I could make the drawing in 30 minutes, an hour, or at least two hours

with the sketches

But without this type of data

, even if I can make a couple of thousand sketches

, the resulting design would be very weak

So, I hope that

you would devote yourself more to finding these references

especially if you would involve

historical references, etc

in the character development

Now, when we see this rough sketch

from a design perspective, the shape of this satgat is very

unique and rather funny

The satgat

is too sharp on the top

so it looks as if this person is wearing some sort of birthday hat

Let me try and refine the shape of this satgat

If this is too big, it would cover the face,

and if it is too small, it would make

the person look too small

This design is rather tough

How would I be able to

express a hunter’s hat in a stylish manner

Let me first lower the fill of the rough sketch

If the head shape is like this,

I think this satgat size would be appropriate

Then, I think

this is a good way to go about it

To this shape,

I want to add lines like this

, so that the helmet like feeling gathers

the face designs together

This is also very unique

I think it

would be very heavy

, but I guess they would have been able

to really hide from the rain with this

For those wearing skirts,

no matter how strong the wind or the rain,

the rain just would not reach

anywhere above the jacket

Let’s set the lighting to be coming from this direction

Whenever you are trying to further polish the drawing

, the lighting information has to be added inevitably

In terms of the shape,

I have explained this previously by adding various values

to a sphere,

but for the sides to

come together and

form a shape, a sense of

light and shade is required

to create this shape information,

so the lighting information of

where it is coming from

must be kept in mind when you are

making the drawings This is very important

as the other design factors become aligned with this

I have made this mistake a lot in the past where

the face must have the shadow on this side

and so I drew the face shadow like this,

but while looking at the designs for the other sections

and the corresponding references,

I unintentionally express shadows

for the bags, etc

in this way

The lighting is coming this way,

but I have already drawn

the shadow for the face on this side

where the lighting is coming from this direction

So, the information related to the lighting

could be all over the place,

resulting in a drawing that seems to have come from some other, weird,

4th or 5th dimension

So, keep that in mind

and always indicate the lighting with arrows for example

Now, let me look at the face in more detail

I am adding indications with

lines, along with a sense of

light and shade,

then let me call the face again

and draw it while looking at the other images

I will try and slightly change the direction of the reference

Although the orientation is not exact,

if the angle or the direction of the shape is similar

it would make the drawing process

slightly easier

I was thinking that going with

a slightly older setting

is something worth trying out

For certain clients,

when the face is decided

they like to completely follow that face

In such a case, it is good to try and stay as consistent as possible

After the face is roughly in place

now I can try and do some reshaping

so that it becomes more like a human face

Let me draw the beard now

I really like characters with

beards,

because beards

are very similar to hair design in that

it is very freestyle

in a way, so I can always freely

use the brush effect

to bring about the personality

of the character

Also, since this beard silhouette ends up

covering half the face,

this is very useful in saving time as well

So the beard

is very easy in terms of expression

and it

also gives a greater sense of completion

in such time consuming works,

even if it is just sketches

So, when I did The Last of Us character design in the past,

the character Joel was the most fun for me to work on

because I did various

beard designs for the character Joel

Also, in containing the facial expression,

the beard plays a very good role

Without expressing the various muscles on the face,

there is a strong characteristic that the beard provides

It can give various sensations

in abundance, so

it was fun

I have not added highlights yet, but

after the rough sketch and the volume

is slowly developed,

I can color white like this,

then make a sort of palette

to make the middle tone,

and now I can slowly

start adding the highlights

Since I am drawing with the grey tone

and the corresponding values,

I must be very careful

with using the white color,

because using a unified

color too much

can cause the form

to look rather unnatural

Keep this in mind

and just lightly

add indications to the sections

that have highlights,

but for the other parts,

it is fine to leave those spaces blank

for now

For the impression, I am thinking of one where the character noticed

something

and is looking towards that direction

as an attempt

I can’t see the ear

, but I can make it slightly sticking out

Then for the cheeks and the lips

I can make the strong cheeks look more bulging

Also, since the hat is already in place

this

part

has to become darker due to the lighting

So, for that, I can select it in

advance, copy it,

and then go to

hue control

or level

to adjust the tone

For now, I will use the hue

like this

I think this is dark enough

Then at the bottom,

I can use the eraser

and just erase this part

Feels like a rather hairy person

It would be nice to indicate

where this line on the head connects to

For all designs,

when the functional

side of it becomes more distinct,

while this may be a very small part of the design,

when

this is viewed and processed by the brain,

it

allows a more

principled recognition,

meaning

it isn’t directly present visually,

but as a

sensation

this

drawing looks

more solid, and

more

believable, meaning more plausible

This kind of effect may be present

But when we look at famous paintings a lot,

there are a lot of

absurdly small details

with their functions indicated

in these paintings

I am often surprised by this

So if I

take painters

who have done live paintings

of flowers, for example, they would add small bugs

that are barely visible,

or small tree branches

that are on the floor These

things aren’t very noticeable, but

having those small details

added to the painting

to make the reality of the painting more abundant

is a way that older generations

seems to have used a lot

In

principle,

I think they had the idea that for the materialization

not missing small details would be very important

In particular, the illustrator Normal Rockwell

or those who made illustrations between 1950s and 1970s

in America, so magazine illustrators for

Saturday

magazine illustration, etc,

and those who worked on covers of novels such as

Robert Fawcett or

Bernie Fuchs When you see these artists

you can see that they put a huge emphasis

on the small details,

so those paintings

have a sense of realism in them

Even though a situation was portrayed

with sketches,

the small individual details

such as the shape of the leather boots,

or

the way the laces are tied on the boots, etc are all expressed

in the sketch

These are shapes that

without enough study

of the shapes using references,

could be easily overlooked

Those people, on the other hand, don’t miss these things

Let me do this, then for the satgat

I will just indicate the texture

by

just

drawing some of the tiny wrinkles

I can’t draw all of this, so

I will

copy this and warp

You will be using

this a lot from now

for such repetitions

I think this is one of the best options

that Photoshop has,

which freely allows

the addition of details as textures

and applying on top of areas

You can create textures like this very quickly

Here, to make this more natural,

I can add a pale

lighting information

here,

in a barely noticeable way

If this becomes too strong,

it starts to have a very cartoonish feeling, so

make it very subtle

as is for the highlights

This is enough for the form to be read

This part becomes slightly thicker as you go to the curve,

so make it thicker,

and then this part will become brighter

Always think about the sphere

and when you continue to practice with the sphere that I talked about,

you will be able to understand the principle of light and shade,

so when doing these designs

you can implement that

as such

When the feeling or the impression of the character

is implemented well,

these other designs

help with materializing the face

, and adding details

Some people

see the surrounding

designs as big chunks

and continue to move deeper into the details,

but for me I think that

facial impressions

have an effect on the other designs,

so I draw the facial impression

first,

then

move on to the clothes

For this eye part,

I can come back to it, so

if there are some shapes that are causing trouble

or you can’t proceed well, just skip it for the time being

For the gun,

I will just have a blocking

because guns tend to have too much

details to be dealt with at the moment

Now, I will start to draw all the other

general parts first

I think if you tie this section the string could be sticking out

Let me express the string

like this,

and while we continue with the straw,

I could just stick them at random and draw it,

but when you see this section in the picture,

the way the straw is attached and how the person is wearing it

should be considered from a design perspective

How would this logically make more sense,

how is this made,

how can this be

covering the shoulder area of the person and stay intact,

were these straws woven together

for the design, etc

Thinking about these things

and applying that to this design is

a way

to make the image look more believable

So since this is a rag like

material, let me add some structure to it

like this

Because this is made from weaving straws and it is therefore very stiff,

I think it has to be hovering when you try to cover your body

So slightly hovering,

with a sort of

woven part

here

with this section tangled and connected,

I think this part

is the main focus

when designing

So, even though this is a very rough polishing sketch

I will try to

express that as much as possible

All this is tied together

here

then here

since this is ragged, this section has coils

so that it does not slip down

I think adding such parts

would be good for detail

like this

This design information, meaning

functional information with logic

is indicated as much as possible

this is how you should think about it

How can you naturally

indicate this, and

also

how would the physics of lighting

come into play here

The gun is here, so I think the shadow would form around here

Also, since the rag is on top

this part would have a light shadow,

although it may be different

depending on the material of the clothing

in terms of the lighting

Add a little bit of depth,

with a layer

Now here, I think they would have tied this up

When you express such functional things in drawings

you would slightly exaggerate what is

not seen in pictures,

in terms of

How things work,

so how this is stuck

and how this is in place, etc

It would be good to magnify them

when drawing,

so a creative exaggeration is necessary

to explain the shape

So,

how could

this type of straw

be arranged,

and since this is a gun,

instead of

putting this part as the shadow, I think

it would form slightly floating

Hold the layer

The gun would have to be sharp, so

make it sharp, then lower the layer opacity

to show how the gun shadow

would form

Give a sense of straw

strands that

are sticking out,

then basic light and shade for the hands

think of it as drawing a particular structure

and don’t focus too much on the details

As I have mentioned previously, it is

good to think of it as a robot,

so as for robotic arms

you have to

remove the compulsion towards drawing all five fingers

Adding details to all the fingers is

not necessary,

but rather divide

the hand

with contrast

and progressively add details to it

The same applies for the face

So after the form is somewhat created,

let me now add some structure to the hand as it looks dull

Wrist

Here, let’s assume that

this was tied with some sort of rope

It can be good to use your imagination to this extent,

so overall I can

use image references

as much as possible for the drawing, while

for these small

connecting details,

using your imagination when drawing is not very

damaging to the design

But the important thing is preventing that these described

designs get

damaged by the imagined

design, meaning the production

of the details should be in harmony

Otherwise, some parts may seem unreasonable

while some sections make sense

in a single painting

While adding other small details,

describe it

to a point where it feels like this design

belongs here

as much as possible

To about this length

If you see, the straw is very stiff

as in the case of a broom

I think the same material used to make brooms could have been used here

Adding tone like this,

then lowering the opacity a little

so that the line under it is visible

Here, again,

for the highlights,

I think as long as the form of the straw is not disrupted,

indicating

this would be good

then this part of the straw would be darker

so make it as such

I think making this arm part a silhouette

would be fine

Also, do not forget to check

the navigation

Checking the navigation frequently means

checking the character silhouette

whether it is properly forming a harmony or not

, and constantly doing a check up during the progression

Since you could see the lighting, etc

very briefly, if you do not have a navigator

you should at least try to continue to check up in this way

, seeing from a distance

So even when you are doing conventional painting

such as oil painting in a live drawing form,

it is important to get up from

your seat often

and check the image from far away,

and it is good to apply the same principle digitally

Here,

to give a feeling

of dinosaur skin,

I would have to open up a different reference

Since this is skin, I can

give a distressed feeling,

and

a loose feeling

Then for this line,

let me draw

this again with robot arms

Also, for those of you who find drawing hands difficult

there is this method where

you take a picture of your hand with your phone

Take a picture, download it,

then open it

using Photoshop and

trace it as I have mentioned before

Then in less than 1 or 2 seconds, the outline

can be completed

Just use that

I am

using a harder way,

and I also find drawing hands extremely tricky

I always think of the hand

as a second face, so

if small details are not done properly

it can easily give an unreal sensation,

so even though I draw

hands very often, I am also

always stuck

when it comes to certain angles

or special lighting

situations, it can

get rather difficult

When I am pressed by time, I take a picture of my hand or my

peers’ hands and use it as a reference

I hope you don’t find

that

particularly difficult

Regardless of the method,

It is the sensation given by the character

expressed properly

by these small design factors,

Just focus on that

With the factors not being left out,

is the progression one that is close

to the client’s demands,

and is the character feeling

that I desire to have coming about well,

check up for those things

I did not save this yet

do not forget to save at all times

Because I don’t trust computers,

so it could just

turn off at any point,

and I once kicked one of the cables

and caused a power outage

3 hours into my drawing

Those kinds of accidents may cause 3 hours of your work to just disappear

So you have to be very careful with this,

and although Photoshop has

an autosave function,

just in case

Recently

Photoshop has this kind of defense mechanism,

but you never know what could happen

When I used old versions of Photoshop

and things like this happened, I

did not feel like going back to work

after everything I had done was lost

I have indicated the clothes like this,

with a skin like, rough expression

Also, as I am drawing clothes right now,

there could be various tips for drawing clothes,

but

if you know just a few of the key principles

it would be very helpful

When drawing clothes,

there are three mechanisms that clothes have,

which are gravity,

flow, and tension

So for

gravity, it would be

how thick or thin are the clothes depending on the material,

and how the gravity is reflected accordingly

So, if the arm is like this

for instance

and the clothing is put on top

the wrinkles would

go down like this

with gravity coming into play

If

the arm

is like this and the clothes are put on like this, then

this part will drop as such

because gravity continues to go downwards, so

the wrinkles would go like this

And also,

flow,

so the

wrinkles on clothes are not formed like this

right,

so let me explain this while trying to draw the clothes

If you see here, the wrinkles

won’t go like this

but like this,

then with that happening

the other wrinkles

would go

like this,

meaning there is this kind of fan-shaped flow

which

is flow

caused by the force

of gravity

Then

if the clothes are pulled mechanically

or if it is dropping down

from the shoulders,

or if they are grabbing onto the clothes, etc

there are these things called

tension wrinkles

This drawing is a very simple example,

but say this is a fist, and if

the clothes are pulled a type of tension forms

just like wrinkles

So consider these three

things, gravity, flow, and tension,

then

at least in terms of drawing the wrinkles

, you will be able to match that logic

without having to look at the reference too much

Of course, looking at the reference is often better,

because if you apply that to make them

the wrinkles become more real

Also here,

let me show you a great example

You can see the flow from the gravity

although it is very minute

Clothes all have this kind of flow,

and seeing this person

the arm is dropping

while grabbing the bow like this

to form an angle

In this case,

these small, wrinkle like

tensions would form

So, think of it as a complex form of

flow and tension

for the clothes

Keep this in mind,

and now I will try and draw the clothes using these references

There is one difference here,

which is that for this model the light

is coming from this direction

If you look at the reference incorrectly,

this could result in incorrect lighting

If the direction of the light is different,

make the direction of the light different in the reference as well

before

referring to the reference

I will quickly block this part,

then smudge

I have done the brightness setting to an extent,

and I will have to try adding

some shadows to the hand

like this, and then highlight

Since the hand is sticking out slightly,

I think it would receive more of the lighting

With the arm here, I think it would be good to indicate

the sense of it being lifted

It would be fine to go

darker here in my opinion

The hand suddenly became too big

, so let me make this smaller

like this

Then again, let me

work on the details of the bag

If the bag

has these small strings

tangled together,

and then

like this

it would be a bag to hold gunpowder, etc

This is done

Then again,

the shadow expression

Also, I think this part is flashed too much, so

I will add more shadows here to give a sense of this part being crumpled

a little bit more

When this belt

presses leather, for instance, it would cause tension wrinkles like this,

which you can indicate again

Add some tension wrinkle

form here as well,

and then

since the gun is very hard to see right now, I think

I have to

add a little

more lighting indication

From here, I think for this part

if the shadow drops around here

, there would be more lighting in this

area a brighter lighting

This part would also have to be brighter like this

I have to

Because the gun is not the most important part,

I have just added indications

For this side of the face, I think

the shadow has to be stronger

I also want the lighting on this part to be more apparent

This area also has a lot of tension wrinkles,

so indicate

this first,

then

for this part that looks older,

just do a

blocking

Block this part as well, but

the value for this foot is lower than that for the other

because it is in the front

Here, indicate the straw shoes

More details could go in here, but

when you are doing a faster sketch

variation work,

if just indications are enough

for the shape

to be read, it is fine

You could add photo references, etc on the side later

and describe what type of design and shape

this corresponds to

This allows

Add shadows here,

and since this foot is in front, I will make this brighter

Straw shoes

are difficult to design

in terms of expressing the lighting

Just add indications of

roughly what type

of design this is,

and then I will add some lighting indication

This part again stands out too

much, so let me press this down

I think I have to press this side down as well

like this

A principle when drawing

shapes for instance

is never to use

this type of

perpendicular shapes

Even if you decide to use something right angled,

you want to make changes like this

so that the lines look to have some structure

as if involved in architecture

or a similar feeling

In other words, drawings

with more sense of structure

are better

Indicate the straw shoes,

and make sure that the feet don’t become too big by calculating

There is a tendency where more details on the foot

result in the foot becoming larger

unconsciously

like this,

So with that, I will

conclude this lecture with the sketch work done up to this point

The next lecture is the final sketch step

and will deal with various

tips and techniques for the presentation

That is it for today

Thank you