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Hello, today we are going to learn about materials.

It's good to see you again.

This is Chyan.

Are you ready for today's class?

Now, it is a bit difficult to say

that the class actually starts from today.

Today, we'll go over analyzing materials.

As you draw

while you're taking the course

you will reference a lot of materials.

Of course, everyone has a different working style.

But, most of you will look at materials when you draw.

So, when you look at materials,

you can study how to utilize them.

Drawing a lot will also help you with your studies.

Other than actually drawing,

when you study by analyzing with your eyes,

you'll need to also look at materials then.

When you do so,

you need to know how to analyze them well.

So, I'll go over that today.

Also, I will teach you

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how to adjust your drawings.

Of course,

I'll go over it once more

when I teach you about coloring.

Still, it's good to go over it now.

We can still utilize it later on.

So, without further ado, let's get started.

Before we move on,

let's take a look at the curriculum

of this class again.

Section 2 covers the basics.

Section 3 will prepare you

for your future professional works.

Full illustration is in Section 4,

with portrait illustration in Section 5.

That will be our curriculum.

Let me show you an example.

It's about full illustration.

We have some design work in Section 3.

And with that illustration,

we are going to create a thumbnail.

I will explain what a thumbnail sketch is later.

After that, we will apply the base colors.

And proceed until the final touches.

Of course, it's not complete yet.

It's about the middle of the process.

But, you'll get the overall sense that

your drawing will be completed

in this way.

Similarly, in portrait illustration

you design a character like this

and with that character,

you can create a thumbnail.

With that thumbnail,

you set the colors

and complete it.

It looks difficult.

But in this class, I'll try to explain it as easily as possible.

So I think you can handle it.

So, you'll go along with these processes

as I draw in this class.

In Section 3, we are going to design a character together.

And do a full illustration in Section 4.

Also, we are going to draw a portrait illustration in Section 5.

I think

it would be more effective

if you follow along as I draw.

Our goal for this lecture is

to study about the materials

we could use in class.

Let's have a look, then.

There are some people

who use photo references,

or drawing references.

You'll use references for many reasons.

It could be for drawing

or it could be for coloring.

There are two ways for how to use references.

First, there are the references you use to draw something beyond your skills.

In other words, they would be references you look at as you draw.

Second, when you aren't drawing,

you can just search for pretty illustrations.

But, you'll analyze why it looks pretty.

These references are the more analytical ones.

These were the two types of references.

The first thing we are going to learn is

the usage of references that we use for drawing.

I think there's a standard way to utilize them.

That is,

how to use them effectively

to maximize efficiency.

That what we need to learn.

I stress that you should know how to use them to increase efficiency

because there is a big difference in the final work

between knowing and not knowing how to utilize them

when you are using references.

That's why I'm emphasizing it.

So, how should you use references?

What I want you to remember is

the usage of references.

For the usage of references,

when we draw,

some people may use a single reference,

and some may use about 10 references.

I've seen people using 20 to 30 references.

But I can't tell

which one is right.

But what I recommend to students is

to use about 2-3 references.

Just one reference is fine as well.

But maximum 2 or 3.

Because,

for the usage of references I mentioned before,

I'm going to explain this part in detail.

We can't get much useful information

from one reference.

You will be able to get more information from a reference after time passes.

For example,

when we watch how pro gamers play,

and share our thoughts,

we can only say they play well.

But, people who also play games well

will be able to share their thoughts more.

People who know about the game and those who don't

get different impressions

from the same content.

Right now, at your level,

you can't analyze a lot of information accurately.

Not just yet.

So, when you have a lot of references

they will be like your guardian angel.

That means,

people don't get the appropriate information,

even with the references right in front of them.

That's why I set a limit

on the usage of references.

So the first step is

to recognize the limits of their usage.

So, as you reduce these steps,

you shouldn't just put them next to you.

What's important here

is how you analyze things.

Number one would be your usage of references.

Number two would be analyzation.

This is the most important.

In fact, this would be

the thing I want to emphasize the most

in today's lecture.

Analyzation,

as I said before,

this means writing down your thoughts.

Analyzation has a close relationship with

the references for studying, which we are going to learn about later.

Because when we study references,

we do have to analyze them.

The more thoughts you have, the better outcomes you get.

When we have one given reference,

some may write their thoughts in one sentence.

On the other hand,

some might have a lot of thoughts.

So as I said,

it depends on the base knowledge they have.

That brings different outcomes.

When someone looks at a material and writes their opinion,

there's a huge difference between

writing only one line and writing 10 lines.

When we read books,

we experience a whole new world

without actually being in it.

Likewise, with references,

we can experience something

that we actually can't in reality,

just like when we read books.

That is, somebody who has a single sentence of opinion,

had that short of an experience,

and this person's experience is worth ten times more.

Of course, it's not real experience.

So your drawing skills may not improve

as much compared to hand-drawing.

Just analyzing it is worth ten times more

than writing one sentence of opinion.

So that you can improve your skills more.

And that belongs to you.

So you will get to improve your drawing skills

even when you don't draw.

So, although it might vary personally,

let's say there's

an elementary school student who hasn't seen any illustrations so far

and a junior high student who has seen a lot of illustrations.

Actually, the elementary school student part doesn't matter.

If there's someone who has seen a lot of illustrations

and someone who hasn't, and they both

draw an illustration for the first time in their life,

obviously there will be different outcomes.

This person has seen nothing

but this one hasn't.

As you might guess,

the one with more experience will get better results.

So, although this person

only wrote a line of their thoughts,

at least they acquired something

while looking at references.

So, because your goal is to study drawing,

you should be able to

look at the drawings

and write down 10 to 20 lines of your thoughts.

So, let's go over how to analyze today!

I used this image before.

I used this one in the previous class, introducing myself.

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I will do an analysis using this image.

I told you analyzation requires about 10 sentences.

But if you are a newbie,

even 3-4 sentences may be hard.

Because you haven't tried it before.

So, I'll show you how to do that.

Then you would be able to grasp the gist

of how to do it.

But before we move on,

I mentioned that we are going to learn how to edit illustrations.

Let's talk about editing.

When we draw,

usually, Photoshop is the standard.

Although Photoshop is standard,

Clip Studio Paint has similar functions.

We are going to edit a lot.

That includes color editing, shape editing,

etc.

I'll go over the most commonly used tools.

I usually call them the three wonders of Photoshop.

First, I'll go over the color edit name.

So, without further ado,

let's see what these three wonders are.

This one is commonly used.

A lot of you know this.

Ctrl+U

It's this function.

It's the hue saturation tool,

from hue to saturation

and brightness as well.

You can adjust them all at once with that tool.

Once again,

hue,

you can change the hue.

And saturation,

you can adjust it to be strong or weak.

Brightness, too.

So, you can see that it's a very useful tool

to adjust your illustration overall

with a bright tone or a dark tone.

But, there's also another way to use this.

If you see here, you'll see the word Master.

This refers to the overall color.

If you click this,

you'll see other options, too.

If you click Reds,

you'll just adjust the red colors of the illustration.

So, this way you could adjust

the saturation and the brightness of just the reds.

That also means

you can apply this to other colors as well.

You can change the blues into different colors,

or edit many different things.

There's not many people using this function.

With the Ctrl+U only,

you can apply many transformations.

You can switch the reds like this.

So this Ctrl+U is

pretty useful.

The next one you can use is Ctrl+B.

It's used to change the hue.

It says Color Balance.

This tool is used to adjust

the hue part mentioned above

in detail.

Of course, you could divide it into 3 parts,

like the dark part, bright part, and in the middle.

So, with the Color Balance tool,

you would be able to

adjust the hues in more detail

compared to the Hue/Saturation tool.

You can change it

in detail like this.

And the third one,

would be Ctrl+M.

This may depend on the Photoshop settings.

It's for Curves.

Some of you may adjust the Levels.

And there are some people using Curves.

I prefer using Curves more.

Curves is used

when you want to adjust the overall tone.

So this Tone means

you'll literally

adjust the bright parts and the dark parts of a drawing.

So, with Tone,

you should check how you can

adjust the bright and dark parts.

So if you take a look at this,

on the left, there are the graphs with higher values,

and on the right, there are graphs with lower values.

So this one on the left side indicates the dark part.

And the other one on the right side shows the bright part.

This illustration is dark overall.

So that would mean black has been applied a lot.

If you want to make it bright,

pull this line in the middle upwards.

Then the dark part turns bright.

Then if you pull it down,

the bright part will turn dark.

So you can adjust the dark part to be brighter,

and vice-versa.

You can adjust it like this.

Of course, you can make the dark parts darker, and the bright parts brighter.

Then there would be a stronger contrast.

You'll see that this illustration became more like a neon sign.

You can adjust the contrast like this.

If you click the channel part on the upper side,

you can limit the reds

or you can add the reds overall,

like this.

You can add the reds into the part

that already have plenty of them.

Or you can add the greens

into the part that doesn't have them much.

You can apply many different things like this.

So these are the three wonders of Photoshop

that I commonly mention to students.

You can adjust the colors

with just these three things.

But, there is one more thing

that helps you utilize them to the fullest.

To use these things well,

I do think you need one more thing.

That is the Color Range tool.

You will use them together.

You can find this

Color Range tool from the Select tab on the top left.

Here's Color Range.

If you click this, you'll see this panel.

The Color Range tool only picks out the parts

that I selected with the Eyedropper tool.

It will only show you parts

that have the same color

you selected with the Eyedropper.

Like this.

When you use this tool,

here's a tip when using Photoshop.

Basically, the Shift key means adding something.

And the Alt key means taking something away.

For example,

when you apply the Select tool like this,

holding this part selected,

press the Shift key to select more areas.

And the Alt key to take them back.

Coming back to the illustration again,

by using this Color Range

select the purple part of this illustration.

Only the purple parts are selected.

And you can retouch

this part only.

With this Color Range and the "three wonders",

you can retouch most of the colors of the illustration.

This is very important.

Now we've finished learning the editing tools.

We are going to analyze the illustration on the left using an editing tool.

And write down our thoughts.

Here's a tip when you write down your opinions.

You may write much information about the drawing,

or maybe about the coloring.

Then the part you focused on,

would be your strength

and the others would be your weakness.

Just like I said in the first lecture,

you will find both strengths and weaknesses.

In other words,

you can focus on your weakness.

Or you can emphasize your strength

and strengthen your weakness.

Now let's start analyzing.

Looking at the illustration on the left,

it looks calming overall

at first sight.

Let's analyze the reasons why

it looks calm at first sight.

If you have a look at the overall silhouette,

you could see the character is

looking like this.

We will deal with this in detail later on

when we do the drawing part.

You can see that most of the elements

are placed at the bottom.

So, naturally, people would look at the bottom

instead of looking at the top.

So, people would concentrate on a certain point

for this drawing.

Most of the elements are focused on the bottom side.

So we are going to call this triangular composition.

It's arranged like this

so it's a composition

for which your eyes won't go all over the place.

This is a triangular composition.

Do you see that the middle part here

is arranged so that you would focus on it more?

So, there's a diamond composition here, too.

We will handle this diamond composition later.

But it helps you to make the illustration fancier.

That means, it looks fancy

but calming at the same time.

If you look at the character,

the parts that stand out

are the skin and the hair,

which are brighter compared to the other parts.

If you look at the parts where the hair and skin is visible,

you'll notice that they're focused around the center of the drawing.

But, if you look closely, there's the thigh and the hand at the bottom.

But this part has a dark tone

compared to the skin.

If this part was in the same color as well,

our gaze would have been focused here as well.

So, the reason why this skin part looks dark

is because I didn't want people to look at the bottom.

Adjusting the skin tone.

Both blue and purple are used in the overall illustration.

But it may look too distracting

if you have two different types of hue

in the drawing.

So let's see,

what tricks are applied

in this illustration.

If you take a look at the overall colors,

you will see most of them belong to navy.

So the ratio, although they used both blue and purple,

is not 5:5

but it has more blue

so it would be 7:3.

Like this,

when you get to use two unique colors together,

most likely you will use complementary colors

such as reds and greens,

or yellow and navy.

So they are opposite to each other.

You are going to learn the color wheel when we move on to the colors.

And the opposite colors,

which are totally different.

Since those are eye catching,

if you use them too much,

it may be distracting from the viewer's point of view.

So, in an illustration where your eyes could get too tired,

one color would be the point color

and the rest would be just the additional details.

This way, your eyes will get less tired.

Other than that,

if you gray-scale the whole drawing,

like this,

you'll see that this area became brighter.

Because of this part,

the part that becomes slightly brighter,

these two characters are separated.

And looking at the density part,

let's move on to the high-density part.

Density means

a part that's clumped together.

Let's have a look at this part with high density.

The part with many details.

Looking at the high-density part of the character,

there are not many details.

It looks like it has a lot of details added to the illustration.

But the bottom part

has almost no detail.

By focusing on the details of these parts,

the eye-catching point I mentioned before,

since the details are focused in the middle,

people will be able to focus on the illustration.

Density and concentration.

If you look at other elements as well,

you can see that the background used a photographic texture

compared to the casual-style characters in the foreground.

So, because of this,

the background will be much more detailed

compared to the characters in the front.

Because of it, the robot and the background,

despite having the same colors,

look pretty much separated.

The reason why they look separated is,

because of this counterlight,

and the light from behind,

with the light

which is high in saturation

which helps them to be depicted separately.

If you zoom in on the illustration,

you may find that some noise effects

are applied.

Like this.

These days, this noise effect...

or if you have a look at this,

you can see the pixels

are blue and red.

I call this the digital effect.

We will handle this in detail later.

With the noise and digital effect,

it looks a bit

more detailed.

So these kinds of things also contribute to

developing the quality of the illustration.

What were those again?

Background, separation of the characters,

and the counterlight do those works.

And texture.

With the digital effect,

I only used it

so that the overall quality of the illustration

would be better.

Sure, there is a hand stretching forwards.

But, too much perspective isn't applied to it.

Usually, when we see a hand

stretched out forwards,

they are drawn in a huge manner.

But, if you've seen drawings where they aren't too huge,

that's because the illustrator

was going for

an overall calm tone

and didn't apply too much perspective.

Look at this part.

Around this highlighted part,

you can find many colors with high saturation.

You can find that

many colors with high saturation,

between purple and blue, have been applied.

Although I said plenty of them are used,

let's minimize it and choose the part with high saturation.

Let's look at other parts with high saturation, too.

So if you have a look at this,

there are some applied

in the parts we have to focus on.

That is,

by applying the colors with high saturation around the highlighted part,

which is what we have to focus on, we can concentrate more easily.

If the saturation is higher than the other parts,

that will be eye-catching.

In the eye-catching part like this,

with the highlighter which makes it more eye-catching,

it helps us to focus more easily.

It's the boundary color of the highlighted part.

You can use this when you match the color later on.

Then what's next?

So I said there's a gradation applied

between the character and the robot behind.

If you take a closer look at it, you can find glitter

and fog effects.

So these glitter and fog effects

also help to signify distance.

The fog and glitter...

we saw in the illustration in grayscale before.

In the grayscale illustration,

you can see that the middle part is bright

and the edges are dark.

It's to clean up the overall volume.

Looking at the illustration,

organize your thoughts like this.

Of course, there are far more things to organize,

besides those which already exist on my list.

For instance, we could also analyze what a character's anatomy looks like.

For example, this character

has a relatively large pelvis.

If you look at her upper body, because she is mature,

she has a large chest, too.

That's the reason the lower body

gets bigger in size as well.

As mentioned before, to make the illustration look more stable,

I had to make sure there were a lot of elements at the bottom.

To do that,

I made the lower body thicker.

We can also see that one of this character's eyes is hidden.

There is a difference between being able to see both eyes

and when the viewer can only see one eye.

Because we apply more deformers to a character's eyes

compared to other body parts,

if you can see these eyes more,

that would mean the character tends to look more casual.

In other words,

the more you hide this eye,

the more an eye is hidden,

the closer it becomes to a realistic one.

From the viewer's perspective, this would be more realistic.

It makes the character more mature.

So when I worked on this illustration,

I wanted her to be mature.

Therefore, I didn't reveal this eye.

You can study it by listing your thoughts.

In this case,

I have analyzed my illustration.

But students have to build their own list,

while studying someone else's illustrations.

In the beginning,

writing 3 to 5 sentences may be difficult.

But if you keep working on it,

and gradually increase the number of sentences

to make it yours,

it will help to apply those

to your illustration at the end.

It will be a useful and valuable experience.

Now we have to try using the editing tool.

When you look at references,

there's something I want you to remember.

Let's say this PSD file

is not my illustration.

Bringing in a reference,

like I did before, I checked it while using the Eyedropper tool.

Just use it as you wish, like this.

Because aren't selling this illustration.

It's not for commercial purposes.

You are using it as a reference

and for private study.

So if you have a reference with you,

I want you to analyze it without hesitation.

What I mean is,

edit this illustration as you want.

Maximize the contrast.

Change the hue.

There've been quite a lot of students who thought they are not allowed

to edit an illustration that belongs to somebody else.

In fact,

there are a lot of students who think like that.

There are also students who never imagined such a thing.

There will be people

who would never have dreamed of

practicing retouching someone else's illustration.

But, practicing this way

would broaden your experience.

This way,

you can quickly be familiarized with drawing techniques.

So, I think it's good to study while

retouching an illustration like this.

If it doesn't work,

or if it's not satisfactory...

There was this character,

with an eye partly hidden.

Try to draw the other side of the eye.

Try to draw it first.

Or edit the drawing on your own.

If you imagine alternate situations...

For example, if the character didn't have ears

or if the robot was white,

utilize the Color Balance tool

to edit your illustration.

Select this robot

and use the Three Wonders.

See how the robot got really bright

so that there's no clear distinction between its hairs?

Also, note that because the robot is

above the character in the foreground,

your eyes would focus on the robot more.

You might think it looks like a ghost.

Let's get rid of the background.

You can test it in many different ways.

Applying

many different things

to the illustration.

Don't be afraid of it.

The main purpose of today's lecture is

to try many different things

without hesitation.

Along the way, students learn how to analyze an illustration

and in that process,

I hope students will do it without hesitation.

So you can get a lot of useful information

from a single illustration,

and make it yours.

So far we learned how to analyze an illustration.

We learned how to analyze a material.

In this curriculum we also need to

design a character

and after the design work,

using that, we'll do a full illustration,

one with a background,

and a portrait illustration.

I mentioned that these types of illustrations are used in games.

So we'll work on these two

and in the process, we are going to use references.

So, how to use references is the goal of this lecture.

The major use for references is

to illustrate something that goes beyond your skills.

And there are illustrations you can use while working on something.

While others are for

studying purposes.

If those are used for your illustration,

you have to keep to a limit.

Get around 10 reference pictures

and check again

if your references were actually used.

Or, if you used just one reference,

check if you analyzed it like I did

or if you just put it to one side.

These differences will be significant in the end.

So, think once more about this.

You should realize

how much you can analyze an illustration.

In the beginning,

I recommend just 2-3 illustrations.

That would be enough.

Because when you refer to these illustrations,

you are only going to see the gorgeous ones.

So with 2-3 gorgeous illustrations,

you will get an outcome that goes far beyond your skills.

And when you have a look at the references,

the most important thing is to analyze them precisely.

When you are analyzing,

use the editing tools.

And try to organize your thoughts

as much as possible.

Through that process,

maximize the information

you can get from one illustration.

By repeating this routine,

you will be able to improve your skills,

even when you don't draw.

Let's utilize the reference today.

I'll apply what I went over in today's class

to show you

how to use references to draw.

The first method was

how to use references

to create illustrations that go beyond your skills

and to change your current illustrations.

At first, this was an illustration with a lot of purples and blues.

But, overall, it had more blue hues.

The illustration also had small areas of purple with high saturation.

So, let's compare.

First of all,

here's a tip.

When you use the Color Range tool,

there's the Fuzziness menu, and when you set it high,

even similar colors will be selected.

But, on the other hand, if you set it low,

only the colors that you chose will be selected.

So, for now, I'll only select the white area in the background.

I'll select it.

And I will lower the brightness.

The blues and the indigos are used the most overall.

And the background has that kind of vibe.

Let's put in some whites

to show there's a color gradation around the character.

The character was dark overall.

Therefore, create a layer,

and use the Clipping Mask function.

Pressing the Alt key,

you can click the middle of the layers to make it quick.

Or if you right click,

the Setting pops up.

If you use the Clipping Mask function like this,

Whatever I do on the upper side,

it won't go over the layer on the bottom.

So make it dark like this.

I said it has an indigo tone overall before.

So we have to reflect that as well.

Add some blue colors

to this dark part.

And this color on the bottom,

needs more blue color.

I used the Color Balance tool.

I said the benefit of it is the detailed color transformation.

So we have to give it a counterlight as well.

Create a layer again.

Press the Alt key to use the Clipping Mask function.

And repeat what you learned

from the lecture like this.

Let's increase the blues overall.

Also, this Clipping Mask function we learned today,

if you want to use it on the same layer,

there's a lock button up here.

There are a lot of ways to lock a layer.

If you click the one on the far left

right here,

just like the Clipping Mask before,

I won't be able to color beyond the area I've selected.

By using this,

let's add more blues around the character little by little.

And do you remember other things we learned today?

Among the things we analyzed on the left,

There was information about the highlights.

I said that the highlight is applied in a small area

and add a high-solid color.

So I called it a tertiary color.

We will handle this tertiary color in detail

when we learn about the coloring.

So it means it's important.

Those who need to learn it beforehand, please remember it.

I'll add in some highlights.

So here, only the small area in the middle is bright

but this illustration is bright overall.

And the lower body part,

it'd be good to give it some dark colors.

The background part was a bit dense

and the character part was simple.

So it's easy to separate them.

Then it'd be nice if there was something squishy in the background.

I'll use the Lasso tool

to randomly select things

and make randomly-shaped objects.

Right now, my goal isn't to complete this illustration.

I'll just utilize what we've learned from the previous illustration.

I'll mimic the purple parts in the background

and draw a moon in the background as well.

And don't forget

the gradation around the character.

So you can separate the character from a background.

The colors are retouched a bit more.

These two images are like a before and after image.

So, you'd be able to edit an illustration quickly.

The reference image is the one on the left

and in this example, I drew the image on the right.

Today, we learned how to use materials.

From the next class,

we're going to have more professional classes.

To make it easy,

when you actually start drawing,

you will need to know how to use references.

Some people believe that searching for references

also belongs to the artist's skillset.

When we analyze references,

you can't rate your illustration

from somebody else's point of view.

Your illustration may look good right now,

but it might not satisfy you a month later.

It happens when it's your illustration.

So it would be better

to analyze others' illustrations,

which you can rate more objectively.

Through that experience,

you will be able to develop your skills.

If you continue that experience,

I believe that

you will reach the next level one day.

So I hope you don't stop working on it.

It's the end of the class now.

See you soon

in the next class.