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Hello.

Today, we'll learn about hair and the creases on clothes.

Previously, we learned how to draw a human body

with the correct proportions,

though it may have been simplistic.

We also learned

how to move the body

and how to draw its face.

I'll teach today's lecture with that in mind.

Theoretically, in this stage,

now that there's the face

there would be hair,

and if you can clothe it,

you can say that

you can draw a character.

As I previously mentioned,

Section 2 isn't about

improving your skills right away.

You should practice on your own - that's what's important.

You would build up your experience

and improve on your drawing skills.

If you think you need more practice,

invest in a lot of time for one piece

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and apply what you've learned accurately.

Then, you'd be able to draw a character.

Of course, the detailed outlines of the muscles and the bones

would be somewhat omitted.

But, you'll still be able to

draw a character's basic form.

Today, I'll start with the hair

and move on to the creases of clothes.

With them, you can apply deformers.

You might ask if that is something natural.

Because we usually don't draw every single strand of hair

and instead draw them in lumps,

the Deformer is already applied.

But, the Deformer I'm talking about

goes beyond just that.

In fact, with the creases and hair,

you can show a character's personality,

their setting,

or their overall atmosphere,

either directly or indirectly.

Let's take hair, for example.

If a character who is like a career woman

has really messy hair,

it could look awkward.

On the other hand, a little kid

who has long, calm hair

could also look awkward.

With clothing, take a CEO wearing a hoodie

or an elementary school kid in a suit.

Sounds awkward, right?

So, as you might have guessed,

we can give meaning to the hair and clothes.

These would, in turn,

tell us the character's story.

So, please remember that

we apply deformers to the hair and the clothes.

In some animations, you may have scenes

where a character's hair stands up when they're surprised

or when a character has strands of hair sticking out

to show that they're sleepy.

There are also scenes where their hair goes down when they become calm.

Because the hair tells a lot of stories,

keep in mind that it's important.

But, before I go on,

let's review

what we learned in the previous lecture.

I'll just go over the most important things.

I went over what's important

when you're drawing a character's head.

First, the eye socket.

The eye itself has some thickness to it.

If I add one more thing to this, I told you that

the eyelid bone where the eyebrow is located

is the sharpest part.

So, when you're looking at it sideways,

this would be the part where the skull bulges out the most,

aside from the nose.

So, this eyelid bone bulges out the most.

Remember I told you a character looks cuter

as the eyebrow goes up?

The skull shape changes a bit when you change the eyebrow position.

For example, characters who look calm like this,

have very deep eye sockets

especially if the eyebrows and the eyes

are close to each other.

Remember that they have deep eye sockets.

On the other hand, characters with higher eyebrows

will have their eyes here

like this

and their eyelid bone will be less bulging

and it will spread out more.

So, you will now understand this part more easily.

When we're drawing a character,

we usually put the eyebrows far apart from the eyes.

So, the profile of the face

doesn't have a sharp curve.

Because it's important to express the eye socket correctly,

please take some time to study this part.

And, to give you additional information,

some of you struggle with drawing the chin.

Usually, a female character's chin is in a V shape.

Remember when I taught you about skulls,

I mentioned the chin bulges out forwards?

There is a small bone right here

in a triangular shape.

Of course, this bone isn't made up of many parts.

It's just one bone.

It's easier to understand

if you understand it as a sharp triangular bone.

With female characters, that part becomes more evident.

And with male characters, it's not as evident.

So, we can say a character is more masculine if they have a rectangular chin.

So, when you're drawing a guy,

you'll usually draw a rectangular chin.

Still, their chin will bulge out a bit.

Remember, the jaw bones

will always bulge out.

Now, the face.

This point of the ear is in the same height as the eyes.

Just remember that this area was the

important part of the temporal region.

So, now I'll attach the hair to these characters.

Let's analyze the hair parts, shall we?

I've mentioned that the hair is largely divided into

the front hair, the side hair, and the back hair.

If we divide these parts again,

the side hair sticks to the area

right in front of the ears.

So that was where the side hair is located.

Of course, at its front, there would be the front hair.

And this would be the back hair.

So, you can largely divide

the hair into three parts.

Now, you should be able to divide them into smaller parts.

In the end, drawing the hair is all about

dividing it into small parts.

With hair,

I'll first go over things

that are important when you divide hair.

The important thing

is first, you should think of the big parts

and the small parts separately.

In real life,

our hair isn't all together

in a neat form.

A character would have lumps of hair.

So, when we're describing hair,

and if we don't divide it into big and small parts,

it will overall be poorly arranged.

It will also be confusing

how you should arrange the hair

and how you should describe it

while thinking of a specific hairstyle.

So, dividing hair into big and small parts

will have a big impact on important decisions later.

Such as irregularity.

I told you before

that it is good to draw hair irregularly.

If it is too neat, it won't look human.

It will be unnatural

and stiff.

Many people will find it unnatural.

It also won't have a nice aesthetic.

Even design-wise, it is not good to have

repetitive regular patterns.

So, to add in irregular elements,

we are dividing the hair

into big and small parts.

And, if we choose one more thing that's important,

it's that they shouldn't be flat.

Make the hair three-dimensional.

For this concept,

you might actually have heard of it before.

The hair itself is like a huge side.

And because it is covering the head,

it is three-dimensional, not flat.

You might have seen this concept

in another lecture

or from a YouTube video.

What I'm doing today is similar to that.

However,

I'll also tell you how to approach this more easily.

In addition, I'll pinpoint

where you should change your perception regarding the hair.

So, let's get to it.

I've mentioned that

you should divide hair into big and small parts.

The front hair, side hair, and the back hair,

these three parts would be the big parts.

So, would you just have to divide it randomly?

Go for it if you're a pro.

But, if you don't have much experience,

or if your hair is too simple

or bland,

divide the hair once more.

You can divide the front hair into the part that goes between the eyes

and the two parts next to it.

Just make sure that the middle is wide

and the parts next to it are narrow.

And here's the side hair.

With the back hair, draw in this part.

The reason behind this division is simple.

If someone has long hair,

this hair here would go behind their ears.

So, usually,

the hair here would go right down,

while the hair here has to avoid the air.

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That's why the hair flow would be different.

So, we would divide a part here,

and you would keep dividing it into more parts

depending on the situation.

Now let's divide it into even smaller parts.

Like this.

And again.

It is important to divide it randomly.

If you don't do so intentionally,

you'll end up with hair that is too regular.

This is a common mistake

that male artists make.

If you're good at drawing machines,

but have difficulty drawing nature, like trees,

you might also come across this mistake

where you'd draw hair too evenly.

So, you should be aware of that.

You should intentionally divide hair randomly.

That's important.

So, let's say we're dividing it irregularly.

But is there a shortcut to it?

I'll give you some advice.

Stick a small part to a big part.

For instance, like this.

I'll add a small part, and a big part again.

And then a big part, and a small part.

You can take turns with the big part and the small part.

Or, you can just draw a big part in the middle.

You can draw in multiple small parts, too.

So, if you randomly draw these parts,

your hair will look much more natural.

Draw a small part next to a big part.

That's what I commonly do.

It's also what I commonly recommend to students.

You would draw in smaller parts like this.

For now, don't focus on the hairstyle.

Focus on dividing the hair into smaller parts.

I'll tell you how to draw different hairstyles

later on.

Make sure the side hair

covers the front hair.

A small part, and a big part.

Then a small part.

The same goes for long hair, too.

A small part, and then a big part.

Another small part.

And another one.

Make sure you take turns with drawing

the big part and the small part.

That's how you would draw hair.

Now that I've drawn in the overall shape,

I'll add the hair strands as well.

I'll give you a tip with hair strands.

Hair strands are basically single hairs sticking out.

So, it's good to know when hair looks irregular.

When does that happen?

It happens when it gets blown in the wind.

Actually, it's easier to understand if you think of curtains.

Curtains are somewhat heavy.

Hair is also somewhat heavy.

So, when the wind blows from underneath,

and if the hair blows naturally,

it won't look like this,

but instead, it will blow in an S shape

like this.

So, when the hair is blowing in the wind,

it looks most irregular

in the parts where it curves the most.

I'm referring to the parts

where the hair flow changes.

Here.

This area

and this second area.

There's a third area here, too.

So, be aware of

where the hair flow changes.

So, if you add in hair strands here,

your hair will look quite natural.

So, let's move on.

Basically, you'd add in hair strands where the hair flow changes.

Like a twig,

a hair strand could also have additional parts sticking out.

Like this.

Since it could be divided again,

we would add in the details

by adding in hair strands.

Then it would be easier to understand.

As you divide in more parts like this,

it will help you a lot

if you're going for a more mature hairstyle.

If a hair is divided into a lot of small parts,

a character would look more mature.

But, if you don't divide it a lot,

to make it look dull

by using a lot of big parts,

the character looks cuter.

So, I'll draw the character's hair

by utilizing the parts I previously divided.

I mentioned before

that deformers are applied to hair.

Because we're just practicing for now,

we would approach it like this.

But, when you're actually drawing,

you should think in advance

your character's personality

and what kind of atmosphere you want to create.

Dividing the hair into smaller parts will make your character look mature

and dividing it less will make it look like a child.

You could use this knowledge to your advantage.

Or, the hairstyle itself could change.

If it's a child, you could give it short hair.

Or you can give some volume to the hair.

But if it's a more mature character,

you can give it straight, long hair

so that it looks more neat.

Or you can get rid of some hair strands.

Because it will have these changes in design,

you should draw the hair after you've decided

what kind of character you'll draw.

This character will look like this

if we use the parts we previously divided

and draw hair on top of that.

Now, you can see the overall shape of the hair.

Thus, with hair,

it's important to give randomness to hair

by dividing it into big and small parts.

It is important to understand hair

as a dimension that covers

the head.

Remember these three things.

So, I've mentioned before that you should approach

three-dimensional shapes differently from before.

But actually, that happens when

the head turns around.

I met a lot of students

who made this mistake.

It's a mistake you make

when you draw a face in profile.

When you're drawing this type of face,

what happens when you divide a hair into parts?

Remember the most important part of the profile was the ear?

Let's say this is the center.

If you draw the hair

you won't draw it in just straight lines.

You would apply perspective as well.

So, if you add some dimension to it,

it will be curved like this.

Think of placing a mop on top of it.

Then it will look like this.

Perspective would be applied.

Then, the important thing here is

that the side hair tends to go left.

You may ask

why this is so confusing.

But, people who put an emphasis on hairstyle

make this kind of mistake.

When you're drawing the front hair,

you'll see that the side hair sticks out

like this.

The people I've just mentioned tend to

focus on this round silhouette.

So, even when they are drawing a profile,

they might draw hair like this.

There are people who draw the front hair

like this,

with a curl in the hair

to make sure the silhouette stays round.

They make a lot of mistakes in this process.

As I told you,

this side hair

is located on the left

and when they make mistakes,

it means they purposely flipped it.

So, in this stage, they would make mistakes with the dimensions.

To look at this area

clearly,

it is important to consider in advance

where the hair should be flowing towards

and how it would float

according to how the face is tilted.

So, let's go through this process accurately

and minimize any mistakes we could make.

So, let's just say

that you can draw some simple hair like this.

From here, we'll try more complicated hairstyles,

and hairstyles commonly used for casual characters.

So, we'll go over some common patterns with hair.

But, they're just common patterns.

They're not all the patterns.

First of all,

there's this pattern.

It's when we lift the side hair

in an M shape like this.

You can see this style commonly

with characters in games.

That was the first example.

Now, the second example

would be when the front hair sticks out

from the side hair.

In this case, the side hair stays the same.

Only the front hair will stick out

and come out towards the back of the side hair

like this.

Because the silhouette will look pointy,

we commonly use this pattern

to draw a more energetic character.

Next, we have the sideburns going inwards.

For this, you would draw the side hair

as inward as possible, like this.

So, what effect would this give?

If the hair covers the profile a lot,

the face would look very narrow.

So, when you're drawing a face,

you might draw it like that.

If you draw hair

right after you draw the head,

or if you cover the hair

after just drawing the head this much,

when you delete this area as you color the hair,

you may find yourself

with a face

that's really wide and flat.

Most of the time, in this case,

the side hair would have covered the face.

Remember when you take a photo or a selfie

you would usually cover your face with hair

so that it would look small?

In real life, people with a wide face

tend to cover it with their side hair

when they're going for a new hairstyle.

That would mean

the side hair covers up the face a lot.

So, if you curl it inwards,

the character's face would look small.

That was the third most common hairstyle.

If we add one more example,

there's the hair antennae, which is used often.

Even with hair antennae, there are a lot of types.

A really big hair antenna,

a regular antenna,

two antennae,

all of these antennae

are also referred to as 'ahoge' hair.

You can apply hair like this.

Here also, the hair sticking out

can also be applied to the back hair.

Now, the important thing is

if the hair length is too random,

the hairstyle could look awkward.

So, if possible,

if you're going to draw

some hair sticking out from this part,

make sure it goes down a bit

and also make sure

that the length isn't too random.

What do we call this?

It's hair with a wrong trim.

In other words, it's really messed up hair.

As you can see from these expressions,

it isn't a good looking hairstyle.

Be careful when you're drawing.

So far, we looked over

some common hairstyles used for casual characters.

So, we should now look at

hairstyles in real life

such as permed hair.

One thing you should remember is

that hair is actually dimensional.

Remembering this is very important

because when wind blows into the hair

that makes a huge impact in the end.

When wind blows into the hair,

the hair would blow like this.

If you see here,

the part above here won't easily blow.

If we cover a sphere with a cloth

like this,

and if the wind blows here,

only this part will go up.

Just like this

in the example.

So, likewise,

the upper part won't budge easily.

Well, there are other factors that apply as well.

Just remember that the above part

doesn't easily get blown.

Then, the back hair will blow like this.

But, if it blows while maintaining its form,

it would look like a lump, not a dimension.

It would look like a lump in a cylinder shape.

So, how would you

show exactly that this is a dimension?

Of course, as you're coloring,

and describing the three-dimensional parts,

you can express it that way

but the most effective way is to flip it over.

When you draw hair, you'll usually get stuck here -

when you're flipping it over.

Remember this part that looks irregular

as you flip the hair?

I used this part that looks irregular

and split this bit

into two shapes, like this.

Add one more, and now there's three.

Like this, add some irregularity to it.

If there is a big part, add in a small part.

Then, you can make the hair more detailed.

If you draw in more parts where they flip over,

the hair will look three-dimensional.

So, the viewer can also

understand the hair's form a bit better.

That's why, before applying the hair style,

you need to practice flipping the hair.

If this is too difficult,

start practicing with a simple dimension.

Like this.

Or, think of it as a ribbon.

Practice drawing the twisted sides.

And, make it move irregularly.

Make the ends sharp

so that it looks like hair.

Try this when you practice.

Once you're done,

we'll apply a wave here.

A wave is literally when

this hair is all curled up.

Even with waves, there are many different types.

If there's too much of it,

it would curl up like this

and the hair would be all twisted

like this

like fusilli pasta.

If you have a big hair part like this,

you'll add irregularity by adding in small parts.

This part is curved forwards.

Add some irregularity to it.

The direction changes here.

Decide whether or not you want to add irregularity.

It's not really necessary.

But, if you repeat adding it in and not adding it in,

the hair will look quite natural.

You could draw a curled up hair like this,

or you can draw a waved hair or a permed hair.

I'll show you an example of a slightly permed hair.

But first, I'll leave this here.

Flip a large dimension

and start drawing, but

you can tell that the dimension itself gets thick

if it is waved like this.

Think of a thick object

and flip it over.

This one here is a dimension, too.

This fact shouldn't change.

But, this dimension does change its shape.

It changes its shape with a ponytail.

Because the hair is clustered, we can't really say it's a dimension.

So, there's the lump up to here.

And the dimension starts as the lump starts to divide itself.

You'll understand it better this way.

When you're drawing waved or permed hair,

you should make sure that the hair has volume.

It is really important to

make sure that the hair goes outwards

and that the silhouette has some irregularity.

Let's experiment with it a lot

and approach drawing different hairstyles.

Now, let's look at this male character's face.

Some of you may think that a male character's hairstyle

is harder to approach than a female character's hairstyle.

Why does that happen?

Generally, a male character has short hair.

Of course, not all of them have short hair.

But when we are drawing short hair,

dividing the hair into smaller parts

is more challenging.

Dividing it into big parts is the same.

With short hair, too,

we would divide it into the front hair,

the side hair, and the back hair.

I'll keep it short since I'm drawing short hair.

Dividing it into big parts is the same.

But, after that, it becomes a bit complicated.

Why is it complicated?

When I was dividing it,

see how I connected them with a same line?

When we look at hair from the side,

our hair

doesn't just have this part

and nothing underneath.

If there's nothing underneath, when we jump,

this hair would fly like this

and there would be no hair in this area.

So, how does our hair actually look?

In real life, with hair,

if there's hair at the top, there's hair underneath it.

There's some more hair underneath that,

and some more underneath.

Like this.

In other words, it's layered.

With female characters, this is not that evident.

Because if we have the upper hair,

it covers everything up,

so we can't see the hair underneath it.

Because it is long.

But, with male characters, if they have short hair,

the hair underneath it can be seen.

This also happens with female characters with short hair.

Because the hair underneath can be seen,

we draw it as if it's layered.

So, as you divide it into big and small parts,

you need to make sure to layer them.

A big part

then a small part,

a small part,

then a big part.

Draw them alternately.

Draw in a small part.

Draw some more small parts

because it has short hair.

Make sure it looks like

there are more parts added in irregularly.

Like I did previously,

I'll add hair to this.

Before I begin,

I'll have to divide these parts again.

A small part,

then a big part,

a big part, then a small part.

Draw in some more hair here.

A small part, then a big part.

Another small part here.

Draw in additional parts

and make sure they look irregular.

A small part,

then a big part.

Then, you can add

irregularity to it.

Then, the hair won't look unnatural

and it won't look stiff.

That can be avoided,

and you'll be able to draw natural-looking hair.

So, most people who find it difficult to draw hair say that

they have trouble with the parts

that are too regular.

There are also people

who draw hair too regularly

without realizing it until the end.

So, make sure you check after you draw everything.

It is really important to check

if the hair has little to no irregularity.

I call this self-feedback.

You should give yourself feedback in your work process

whether you're drawing a human body

or an illustration whenever possible.

People usually don't do this if they aren't told to.

People usually do this

a long time after they've finished a drawing.

At that point, they'll feel

as if they didn't do a good job on it.

Or, right before completion, you may think your drawing looks terrible.

So you might not want to finish it.

To prevent this from happening,

it is very important to

do self-feedback as you're drawing.

In that process, make sure

that your hair has enough regularity and irregularity

and that they are used alternately.

So, I'll draw this male character's hair

by drawing many layers in it.

It looks complicated, doesn't it?

So, when you're drawing natural-looking hair,

I think that it is more difficult to

draw a male character's hair.

But, if you color this layered hair well,

it will look really natural

and it will look more aesthetic.

That doesn't mean long hair isn't aesthetic.

We approach it with the same method when we perm a male character's hair.

We approach it in the same way,

but we can't quite flip the hair since it's short.

It will be difficult to

flip it more than twice.

Even when you're flipping it, flip it just once.

An upper side, and an underside.

So the part that bends once becomes twice or

the part that went backwards goes forwards

and vice versa.

So make some changes

to add perm to the hair.

Twist it around.

This is how you should approach

a character's hairstyle.

One more thing.

Let's also learn how to draw hair blowing in the wind.

Like I mentioned before, hair blowing in the wind

would make an S shape and blow around.

Again, here,

there are parts with irregularity.

If a big part flows like this,

we would add in smaller parts,

then we would flip the hair

and there would be irregularity because the hair flow would change too.

There's always irregularity to parts where the flow changes.

Add in hair strands, too.

Small and big ones.

Approach the front hair in the same way.

Small part, then a big part.

Small, small and big.

Flip it over,

and add irregularity.

Once you are familiar with it,

draw them alternately.

If you do this a lot, it will be detailed and the character will look mature.

But if you don't do this a lot,

it will be a more casual style character.

So, you can decide how much you'll do this depending on

your drawing style and your character's personality.

You may ask why I'm emphasizing this.

How much would a character's atmosphere change

depending on how much the hair is deformed?

Well, there's a big difference!

Even if the wind is blowing in the same way,

this detailed hair above

and this less detailed hair below,

you can see that they each give off

different atmospheres.

I'm not trying to say that the one on the bottom has less detail.

See how they have a different feeling?

With the amount of hair strands, think of the mood you want to create,

and add in the amount you want.

Now, we're done with studying hair for now.

To sum up... With hair, you need to divide it into big and small parts

to add irregularity.

And, if you want to focus on the volume as well,

note that the hair itself is a dimension.

Make sure the hair covers the head,

then, you can draw natural looking hair.

And, remember the parts that add irregularity to the hair

and the hair designs commonly used for casual style characters.

When the hair blows in the wind,

flip it over

to give it irregular elements.

If you focus on that,

you can successfully draw

a charming hairstyle.

Of course, there are numerous hairstyles in real life.

To practice drawing them, it's best to use photo references.

There are hairstyles that actually exist,

but there are also hairstyles

that only exist in illustrations.

Analyzing them can be a fun exercise.

But, when you're analyzing them,

make sure you divide the hair

into the side, back and front parts.

If you do that,

you'll be able to analyze it more efficiently.

So, that was what I wanted to emphasize.

Now that we've looked at hair,

let's move on.

We are now going to look at how to do clothing creases or folds.

This is also a subject

that many students find difficult.

It would be better to go in detail,

but this class will just focus on the basics.

Because this class focuses more on the actual drawing part,

I'll just go over it simply.

In fact, Section 2 is all about how you can practice on your own.

I'll tell you how to do clothing folds and creases.

For those of you

who think it's too difficult

that even if you want to study it,

you wouldn't know where to start,

and you have difficulties

with photo references,

I would like to recommend that

although it's okay to sketch with lines,

it's best to study with dimensions.

But why?

What exactly are creases on clothes?

Basically, you would think

that they are folds in the clothing.

But, you should note that

even the half-folded parts are creases, too.

What does that mean?

Because these creases

aren't really just lines.

See how it's shaded?

This part becomes dark

because

when we separate it into different dimensions,

this front area receives a lot of light.

On the other hand, these two dimensions receive less light

because they're on the side.

So, with creases, they are very three-dimensional,

and have a lot to do with light and shade.

So, when you're drawing creases,

don't draw them as lines,

but as dimensions instead.

It would be much more effective.

So, if you want to practice creases,

I advise you to draw with dimensions.

But, before that,

if you want to dive deep into this subject,

you need to know a few rules.

First, find the center of gravity.

Some people call it the centerpoint.

There are a lot of names for this,

but it just means

the part where the clothes are hanging.

Let's say we're grabbing a cloth with both hands

and make it hang down like this.

Then, how would the creases look like?

There would be creases that go downwards

with these two circles as the center.

In this case, these two centers

would be

the center of gravity.

So, you need to know where it's exactly located.

Of course, in real life, there are multiple centers.

If we say the clothes hang at the center of gravity,

we can pinpoint it a lot.

But, let's just pinpoint the important ones.

The ones where we can clearly see the cloth folding.

The cloth around the shoulder would be pulled.

See how the arm is folded?

The hand goes behind the back.

This part would be folded a lot.

I'll draw a dot here.

If the wrist has some thickness to it, like this,

see how the arm moves inwards?

So, here, we would have another center of gravity.

Right here.

So, the center of gravity here would be at the shoulder,

at the elbow,

and at the wrist.

In total, there are three of them.

Second, you need to know

the direction of force.

Creases on clothes go in many different directions.

So, they have a lot of irregularity.

Also, the creases depend on the previous pose the person was taking

when you're looking at the picture.

You should know whether the model pulled their arms in

or whether they put their arms out.

Also, the clothes could have been folded after being neat and tidy.

Or, they could have been wrinkled even more.

So, there are many scenarios.

But, you should definitely know the direction of the force.

You should know where the creases are headed

if you want to draw them well.

If you see this closely, the creases give us some information.

I told you before that this arm is folded.

If you do the same pose as this picture,

you'll see that your arm moves inwards.

Your arm will move towards your waist.

So, the creases around this area

will be pulled like this.

They will move in the same direction as the arrows.

Let's say I move my arms outwards like this.

So, how would the creases move?

It would move in the opposite direction

like this.

You need to know this because

people who didn't study theory

tend to draw creases around the shoulder

like this.

There are people who draw like this

because of the illustrations they've seen so far.

These creases are formed when the hem is short, but,

another reason behind it is

the arm moving outwards.

If it goes inwards,

like the creases here,

these creases should also be going inwards.

So, check the direction of force and see if it's going outwards,

if it's going inwards,

or if it goes up and down.

The direction of the creases change depending on that.

Please remember that.

So, now we know the direction of force,

and the center of gravity.

We now know the direction of force,

and the center of gravity

where the clothes are folded.

The third most important thing is how the crease itself looks.

Most creases

are in a Y shape

or in an X shape.

Let's take a closer look

at the creases of this shirt.

If you look at them,

you'll see that they look like this.

See that the creases have alternating

Y shapes and X shapes?

Most creases will be in a Y shape.

These creases will split out from here

just like a tree branch.

Like this.

Now, the important thing is,

I'm not looking at here,

where the crease goes inwards.

Remember when I said to approach the creases as a dimension?

There's more I want to tell you.

When we approach creases as lines,

we draw the dark areas like this.

This is why we can't see the shape of the creases.

The part where it looks the most regular

is this part right here.

These areas where the creases stick out

are the most influenced by

the direction of force that I mentioned.

So, we should use this

to analyze the creases.

You need to be able to analyze the creases

by looking at the parts that stick out.

So, take your time

while analyzing photo references

and closely look at where the creases stick out.

Then, you'll see that

the creases have similar shapes.

Once you've familiarized yourself with these shapes,

you'll know that

you now have a better understanding of creases.

So, I've told you

the three key points of creases.

First, there's the center of gravity.

Second, there' the direction of force.

Third, the creases usually form an X or Y shape.

Now, with this in mind, we have to

analyze photographs

like we are doing right now.

Analyze the parts that stick out, like this

and predict the direction of force.

See how the arm goes inwards?

That's why the creases go up like this.

I'll now pinpoint the centers of gravity.

The direction of force spins inwards like this.

If it spins,

the creases will go in the same direction.

But what if the direction of force

goes in the opposite direction like this?

Then, the creases would move in that direction.

You can also see that the arm goes inwards

around the center of gravity here.

Keep going and draw Y shapes and X shapes.

But, you might feel limitations

if you just draw X shapes and Y shapes

like we've done so far.

The thing is, with creases,

they have a distinct pattern.

Besides the large creases here,

other creases are much smaller

and have a more distinct shape pattern.

So, when you draw this later,

you need to focus on the important parts.

You should only focus on what's important.

So, where won't you draw creases?

Usually, you'd draw creases around the joints.

Because in real life, creases would usually form around here.

So what happens if you look at creases

and translate them into an illustration?

Let's look at the overall flow first.

Overall, there are three centers of gravity here.

The arm goes inwards, and so does the direction of force.

Keep these in mind as you draw.

But, when you're drawing the creases, because this area is large,

we won't draw in many creases.

However, we would draw a lot of creases

around this joint here.

When we were learning how to draw the hair,

remember I told you regular patterns don't look aesthetic?

Design-wise, it won't look pretty.

This rule applies to the creases as well.

If you want to draw a lot of creases

and draw them realistically,

it might actually be good to draw them in a regular pattern.

But, when you do that when practicing,

it won't look good on the character

and overall, it won't be aesthetic.

So, in that case, focus on the parts

where you want to draw a lot of creases.

I recommend you to draw creases only on those parts.

Then, your workflow will be easier.

So, we don't have to draw in all the creases.

Just draw the creases around the part you want to emphasize.

But, with that part,

you really need to do your best

and draw all the tiny creases.

Draw in the creases

while thinking of the X and Y shapes I've mentioned.

If you're done with that, don't draw creases for other areas.

If you don't draw the creases for those areas,

you can draw casual-style creases.

So, you would analyze the reference and use it.

Pinpoint the centers of gravity

and the direction of force.

The direction here is the same as below.

But, the shirt here isn't pulled as much.

Maybe the shirt isn't as tight.

If it was, this area should be pulled a lot.

But, because this shirt isn't tight,

the creases here are quite loose.

So, you would draw in the creases as you keep analyzing.

Of course, this would not only apply to the arms

but also to the waist as well.

Although there will be some minor changes depending on the material,

the overall shape will stay the same.

This is how we would draw the creases.

Now, I've mentioned

the creases could look different depending on the clothing itself.

So, let's study that in detail.

Generally, loose clothes

will have more vertical creases than horizontal creases.

In tight areas, there are more horizontal creases

than vertical ones.

Let me show you an example.

If some clothing wraps the arms tightly,

the creases will look like this.

If we fold clothes tightly,

it will tend to have a lot of horizontal creases like this.

Let's say we're wearing oversized clothes.

Then, the cloth will tend to droop down.

See how it droops down?

If we draw creases for that droop,

we can express that the clothes are oversized.

So, with oversized clothes, draw vertical creases.

And with thin and tight clothes, draw horizontal creases.

Remember that.

As the cloth gets thicker, there will be less creases.

Clothes like hoodies

or very thick coats

don't tend to have a lot of creases.

On the other hand, clothes that are thin, like a shirt,

have a lot of creases.

Just remember that.

So, let's take an example

with a thick hoodie.

Let's go.

Let's say it's a thick hoodie

and that it is oversized.

The center of gravity is here.

And because it droops down,

there isn't much movement to it.

Just make sure

the clothes flow in this direction.

It goes inwards here,

if you move it slightly, like this,

make sure it goes inside the creases.

We have the joint - so, we have to add more creases.

Think of the Y shape,

and in your head,

think of where the creases are sticking out.

See that the pattern here is used again?

Like this?

There are a lot of creases in the armpit area as well.

The area that I circled will be generally flat.

Draw vertical creases

and make sure they cover the waist.

In real life, around the waist,

the creases will be pulled left and right.

Because the cloth will fold left and right above the pelvis,

the creases would look like this.

What if the waist turns around?

Let's say we're drawing something like a shirt.

Remember how they have tight creases?

I'll draw the chest.

Because I don't think I taught you anatomy well,

I'll go into detail

in the bonus chapter.

In that lecture,

we're going to draw a human body together.

So, if you need practice,

study that video in detail.

I'm sure some of you

could be disappointed with the curriculum

because this class doesn't cover the basics a lot.

But, still, it's always important

to stress their importance.

Actually, with the essentials,

I already went over them in the previous classes.

For this class, the most important thing would be

learning how to practice effectively

when going over the basics.

Practicing with that in mind

would be a more effective study method.

Of course, I could teach you everything in this class.

But, in the end, to master the basics,

you actually have to practice by drawing.

So, please keep in mind what I taught you

in the previous lectures.

I'm sure it will help you a lot

if you practice while watching the bonus lecture.

Make sure there are a lot of creases around the waistline.

The parts I'm coloring in right now are the creases that go inwards.

This area is the part that goes outwards.

In your head, think of the area that goes outwards,

and with your hands, draw the area that goes inwards.

That's why this process is hard.

But, as I mentioned, the pattern is always the same.

The X shapes and the Y shapes alternate.

So, once you are familiar with that,

drawing the creases will be easy.

But, before that, it's hard.

That's why you need to train while looking at photo references.

It's important to analyze photographs, like this.

Look at the patterns

and try finding where the 'dimensions'

would form creases.

Remember what we have to keep in mind?

Analyze with this in mind

and analyze the creases repetitively.

Once you've analyzed it,

you can apply it in your drawings like this.

This area with loose clothing

and this area

with tight clothing need to be expressed.

Now, we would also need to

practice in a different method.

Because applying creases

could be more difficult than you think.

Why is it difficult?

Remember when I said

the creases are formed in X and Y shapes?

But, when we have X and Y shapes,

they aren't a perfect X or a Y shape.

In real life, they would be curved.

Even with the same Y shape,

if we look at it from above, it would look like this.

This is how it would look if we look at it

from underneath it.

So, depending on the gaze, the creases would look different.

And, later on,

you'll need to draw a fierce action scene.

The creases will look different depending on the action.

They will also be affected by the shape of the clothes.

So, I prepared this example to show you those examples.

Previously, when I taught you about angles,

remember when I divided them into different levels?

The same thing is applied to the creases.

Like I mentioned the similar thing in the previous lecture,

if the creases look like this,

and if it's a high-angle, it would draw a concave line,

and if it's a low-angle, it would draw a convex line.

The creases would go to Level 1, Minus Level 1 from 0

and we would draw accordingly.

You need to be aware of how much you're curving the lines.

So, even if you're drawing the same creases,

when we look at it from above,

it will be a high angle.

Draw the creases around the waistline

and make sure they are curved deeply inwards

just like this.

You would also draw the creases around the arms

from a high-angle point of view.

If you apply angles, it will be more difficult.

So, just remember to apply them in Levels

and calculate how much they will be curved in your head.

It's important to calculate the curves.

Otherwise, you would tend to rely on your senses.

If you did so thus far,

imagine you're solving equations

and calculate them in different Levels.

Then, you'd be able to draw in deep creases.

See how they go in deep?

The same is applied for thick clothing.

With low-angle clothes, do the exact opposite.

I'll draw high-angle creases

around the waistline and the direction of force in this example.

This is something very important.

The shoulder seam which I'm drawing now

and the other seams on the sideline

and on the back -

never forget to draw them.

When you depict the clothing material,

drawing them will help you a lot.

And later, when you want to draw more in detail,

because this is the seam, for example,

you can draw extra creases

around here.

Then, you'd be able to draw more in detail.

So, never underestimate the seams!

It's really important when drawing clothes.

So please remember that.

If you want to be a concept artist in the future,

noticing details like this will be very important.

It's important to draw the seams.

You'll draw in a lot of seams

when you are drawing armor.

So, remember to draw them.

I want to show you the nuance for this example.

When there's action,

especially when it's fierce, the creases become 'fierce' as well.

Like hair,

deformers are applied to the creases.

So, let's say you want to draw a fierce action scene.

When you say 'fierce', do you think of straight lines

or curved lines?

You'd think of straight lines rather than curved ones.

So, in that situation, the creases would be straight.

And remember with tight clothes,

horizontal creases are usually formed?

So, drawing straight creases

would show the viewers

there's a lot of action in it.

Even if the situation and the clothes are the same,

you can see that drawing vertical creases

with a round sleeve

and drawing short horizontal creases

that are straight

and meet each other

create

extremely different

moods.

So, your deformers would change

if the crease lines change according to the situation.

Now, I'd like to show you

the creases on pants and skirts.

With pants, usually,

creases are formed around the hip joint.

Right around here.

Draw the seams here.

Also, creases are formed around the knees.

But, we usually don't draw creases here.

Nevertheless, if you're drawing illustrations,

just drawing small creases around here

will help you describe creases naturally.

So, just keep that in mind.

Remember that creases are usually formed around the hip joint.

There are a lot of different types of skirts.

But, a lot of students find it hard to draw frilled skirts.

When you're drawing the frills,

draw the outlines at the bottom first.

But, I'd like to emphasize

that skirts are made up of cloth, too.

But, the cloth has some thickness to it.

It's important to remember that.

So, when you're drawing,

if you draw just like this,

the cloth will have little to no thickness.

This area would just be a dot.

So, to create thickness,

would be to disconnect these lines.

What would happen then?

In this area,

there are only two dimensions, the upper part and the lower part.

But, what would happen here?

There's the upper dimension, the inner dimension,

and the third dimension,

which is the lower dimension.

This is very important.

Whether this dimension exists or not

decides if this skirt will have thickness or not.

So, when you're drawing the frills,

you might have seen what I drew in other online classes.

If you've studied more before,

you might say it's enough to just connect these lines.

But actually, that's not enough.

If you want to color it to show volume,

it's really important to give some thickness to the clothes.

So, if you approach it like that,

you can draw a much more voluminous cloth.

Let's wrap it up.

The important thing with creases is the center of gravity,

the direction of force, and the X and Y shapes.

You would practice drawing them by

first analyzing patterns from photographs.

Second, you would modify the creases from the photo.

Think about where you would apply more creases

and keep practicing with the actual drawing.

Third, apply deformers to the creases

that are modified.

If you want to show action, draw straight creases.

If not, draw rounded creases.

Also, practice how to apply different angles.

Practicing with these modifications

would be the third step.

If you keep these in mind while drawing,

you'll eventually master drawing them someday.

It actually doesn't take long

to master how to draw creases.

So, if you focus on your practice and the thought process,

you'll master it faster than you think.

But, there's a big difference when you think of the final result beforehand.

So, you should keep that in mind.

So, up to today's lecture,

we've covered the basics of drawing.

Previously, I told you how to simply draw a character's body

by applying proportions.

We also briefly went over how to practice.

In regards to that, I'll upload a bonus lecture.

So, it would be good to watch that video also.

We learned how to draw a well-proportioned mannequin

that has a certain pose.

We also learned how to draw the head and face.

You can now also draw the hair and clothes.

So, theoretically, you can draw a character

from what you have learned so far.

So, now you can master the basics

by practicing what we've learned so far.

But is that all?

Actually, you also need to draw the background

and learn how to set the composition for an illustration.

But, always remember

that drawing the character is the core in character illustration.

So, that would mean it is very important to know how to

practice drawing one.

And, the other theoretical content that I will explain later,

such as showing a certain situation, composing,

and drawing the character's gaze,

you can understand most of what's important

through my class.

But, learning how to draw the human body

so that it won't look flat

takes a very long time.

So, don't assume that what I taught you so far

has actually improved your skills.

I'd recommend you to

actually practice drawing

based on what you've learned so far.

I think that would be good.

So, now that I'm done,

I'll wrap up today's lecture.

From the next lecture, we're going to learn

how you would approach drawing a character

in an illustration.

Keep up the good work.

That's the end of today's class.