Original subtitles

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

Hello.

Today, we'll learn about the silhouette.

Last time, we learned about the character's gaze.

I'll summarize the previous lecture.

When seeing an illustration,

people's gaze moves in a certain direction.

So, we can use that to our advantage

to emphasize things we want to emphasize

and make the gaze flow

based on the mood we want to create.

When you're illustrating, that is very important.

But, when you've just heard of the concept,

you could ignore its importance.

So, from now on,

we have to know

how to utilize

this gaze intentionally.

So, we'll learn about the silhouette today.

As a basic concept, we learned about the gaze last time.

Today, we'll go over

how to utilize it to your full advantage.

Subtitled by -♪ online-courses.club ♪- We compress knowledge for you! https://t.me/joinchat/ailxpXoW3JVjYzQ1

So, we will apply what we've learned to today's lecture.

The three things that make up

an illustration are the point, the line, and the plane.

The silhouette would be related to the plane.

Among these three components,

the point makes you focus.

The line induces you.

And the plane decides the first impression.

That's the summary.

Simply put, for example,

if there's a muscular character,

the silhouette would be massive.

And if you look at a muscular character,

you can perceive the character

as being aggressive.

On the other hand, if the character's silhouette

is gentle and slender,

you can perceive it as being

a calm character.

So, the silhouette has a huge impact

on deciding the character's first impression.

Oh, the silhouette applies to the illustration stage.

It applies to the design stage,

and it also applies to the drawing stage.

It always applies.

Even when it's a simple hoodie,

whether you draw it oversized

or whether you draw it tight

that will differentiate the character's first impression.

So, the silhouette

has a close relation with illustration.

So, you should put your intentions towards it.

I have the same character that I used

when I explained about the gaze.

Today, I'll use this character

to show you its design.

We're going to look at

what kind of impressions a silhouette gives

and how to use it effectively.

So, why am I just showing you the design?

Of course, like I told you before,

you can use this silhouette in the composition.

If a character is sitting down

and if its legs are

in an M shape like this,

the overall silhouette of the character will be a triangular shape.

So, it will look more stabilized.

Or, it could be lifting both arms up.

So, when it's standing like this,

the silhouette will be an inverted triangle.

So it would look energetic.

We can create different feelings like this.

But, I'll tell you about

the most common silhouettes

later on.

There are many different kinds of silhouettes

but, if we're just looking at the basic forms,

these would be the basic ones.

First up, the triangle.

I showed this in the previous example.

With this silhouette, it has a lot of balance on the bottom

so, it looks kind of heavy.

So, if a character has this silhouette,

it gives off a calm impression.

There would be a lot of elements at the bottom

and fewer elements at the top.

And, when it's flipped over,

it would be an inverted triangle.

This inverted triangle would be more energetic

as opposed to being calm

and it would look more impressive.

So, with cute characters, most of their elements

would be at the top.

This character has a calm impression.

So its hair goes downwards.

If you want to draw a cute character,

you can draw twin pigtails and make the hair go upwards.

And if it goes upwards,

it will look cuter

than the previous silhouette.

There are people who lift the pigtails completely like this.

This is used for more dynamic compositions.

So, a triangular composition is for calm images,

and an inverted triangle is for energetic images.

Now, this triangle is modified

into this diamond shape.

The diamond shape

is used often

for mobile game characters

when we're drawing a portrait illustration.

So, what is a diamond composition?

Overall, the diamond composition strongly gives

the appearance of a fancy composition.

But, the difference between an inverted triangle,

which is also dynamic and fancy,

is that it looks stabilized as well.

So, it has both the advantages of the two types of triangles.

With the diamond shape,

the character would look fancy,

and it's easier to make the viewers focus towards the center.

If we look at where our eyes would be focused on,

with the triangle, it would be here,

and with the inverted triangle, it would be here.

But actually, this spot changes

quite fluidly.

For example, when we have a triangular composition,

the character's face would be here.

The viewers would look at the face first,

so their gaze would head here first.

So, the overall center of gravity

should be at the bottom.

But, our eyes would look at the top.

So, it's actually difficult to

make the viewer's gaze focus on where we'd want them to.

But, with this diamond shape,

the center is definitely balanced.

So, the viewers tend to

focus a lot on the elements in the middle.

So, what're the characteristics of mobile games?

Gamers have to know the character's charm at first glance.

Also, the character needs to be very fancy.

This way, gamers would want to get this character

from a game's 'gacha' system.

So, to do that,

this diamond shape is used often

because it's more appropriate.

There are other types, too.

For example, there's the 8-shaped composition.

Actually, this composition is simple.

With an 8-shaped composition, if there's a halo behind,

people's gaze would focus strongly at the top.

People would focus on the center of the circle.

So, this character would look holy.

You might have seen this composition often

when a goddess character

has a halo behind her head.

If she also has a cape,

like this,

the composition would overall look very holy.

Other than the triangle, the diamond, and the 8-shape,

there could be triangular compositions that are heavy on one side.

There could be trapezoid shapes, and other shapes too.

But, the compositions that decide

the overall image would be just the ones we learned.

So, I'll apply our knowledge to the gaze here.

The gaze focuses on the bottom,

so it overall gives a calm impression.

When the gaze focuses on the top,

it looks energetic overall.

The gaze spreads out.

The horizontal lines are long

and our eyes focus on the center.

So, it would be often used for

fancy portrait illustrations.

The gaze spins once around the head.

Either from above it, or from behind it.

The gaze would draw a big circle.

Because we focus on the character's face,

it looks holy.

Now, if you use this knowledge,

you can effectively use silhouettes

according to your intentions.

So, you should remember this.

Remember these four types of silhouettes

and apply them to your illustrations.

We went over the overall first impression of the silhouette.

So, from here, we can decide the second impression.

The first impression

is decided by the overall silhouette.

The second impression is decided by a lesser factor,

which would be the lines.

The lines decide the character's second impression.

What am I talking about?

How would you feel if a silhouette was round?

It would be a cute character.

On the other hand, if the silhouette is pointed,

it will look aggressive.

If the overall silhouette has a lot of curves

that move smoothly,

it will look luxurious.

If the silhouette is a square shape,

it will look defensive and firm.

If we maintain this triangular composition,

and if we draw the lines inwards,

it would look weaker.

If it's a triangle with round lines that go outwards,

we can alter it

so that it looks cute.

So, by utilizing these four basic compositions,

and by using the lines below,

we would actually draw while fixing the silhouettes.

So, let's get to it.

Let's decorate and design this character.

First off, we'll use the triangular composition.

Because it gives off a calm impression,

from these two examples,

I'll use this less energetic silhouette.

Subtitled by -♪ online-courses.club ♪- We compress knowledge for you! https://t.me/joinchat/ailxpXoW3JVjYzQ1

I'll also add in curves overall

so that it looks classy.

So, this character would be calm, dull, and classy.

These are the impressions we want to give.

I'll draw the clothes.

I'll make the clothes curve more inwards around the waist

so that the waist would be thin.

The bottom silhouette

should also be forming a triangular shape as much as possible.

Like I told you before,

there should be a lot of elements on the bottom.

So, let's say this character is a wizard.

An ice wizard.

Or,

let's just say it's a plant wizard.

I think that would be better to

show the curves of the character.

If it's a plant wizard,

most of its magic effects

would be placed downwards.

First, I'll draw the clothes.

Some of you may find it difficult to design a character.

You might think it's challenging.

You may even wonder if you can start designing with your current skills.

Drawing fan art could feel more comfortable for now.

But, if you do practical work later,

you'll have to design most of your works.

If you are just going to draw as a hobby

or just draw fan art, it'll be fine.

But other than that, you need some design skills.

If you work with subcontracts,

there are concept artworks where you would just work on design.

You could also draw the concept art and the illustration.

This type of work is the most common these days.

Other than that, you might draw loading illustrations.

Or you may also have to design the cover for books.

So, if you're not drawing

a loading illustration

or selling your fan artwork,

most of the time, you would have to do design work.

So, practicing design is important.

You might think design is something difficult.

But, when you draw the silhouette just like your intention,

like I did now,

even if the specific elements within it changes,

as long as the overall silhouette stays the same,

you can express what you wanted to

in the overall image.

After that, you would just make it look prettier.

So, you would keep looking at references.

If you just get the first impression right,

most of the time

you can draw the image you want.

So, don't worry about it too much.

I recommend you to practice drawing

while thinking of today's topic

and thinking of how to

move a gaze according to your intention.

There will be some of you

who want to draw game illustrations

but who have never designed.

If that's you, I strongly suggest

practicing design in your free time.

When I previously mentioned the point, line, and plane,

I mentioned that the line directs the gaze.

In other words, it would induce you.

Then, you can use the lines to

make the viewers focus on a certain point.

Let's say you want a triangular shape.

It would be the most effective to

make the clothing go inwards, then outwards.

If it goes outwards from here, the gaze would head in the opposite direction.

So, to make the gaze move in the way you want,

you can place metals next to the breasts, like this.

Make them go inwards first,

then make them go outwards.

See how the elements related to the line

make the gaze move in the direction I want?

We also need focal points in the center.

In other words, elements related to the dot.

Previously, when we learned about the gaze,

we learned a good element in illustration

would make the gaze flow naturally.

We would also need focal points.

So, if we place these focal points

with detailed patterns in these areas,

it would be a better design.

One of the most widely used designs in practical work

is this triangular design.

Like this one.

I sometimes call it the arrow.

If the bottom lines are longer

and if the upper lines are shorter, the gaze would

naturally flow in this direction.

So, this acts as an arrow.

It becomes a guidepost.

So, you can add in elements like this

to make the gaze go towards your intentions.

This element would

make sure the gaze goes downwards.

If you want to add in visual elements,

it's effective to use colors.

It would be really good to use colors

around the important areas.

So, we now used flows that go downwards.

And we decided that the character uses plant magic.

Let's set the overall color.

I'll set the overall color to green.

Now, I'll draw the plants.

When you draw plants, remember that they are curved overall.

So, these elements will be very appropriate

to give the impression we want.

We have to twist the plants as much as possible.

We also need to create a triangular silhouette.

So, I'll place them at the bottom.

While maintaining a triangular silhouette,

the tree trunks would be placed here.

Remember, you need to make sure that the trunks

aren't placed too regularly.

Remember when we divided the hair into dimensions?

Like that, we're going to use irregular patterns

and create irregularity and draw.

So, if we place a lot of elements at the bottom,

the overall impression will be calm.

But, you may wonder

if you can add in other types

of silhouettes.

It's actually possible.

But, in this case, it's nearly impossible to

add an inverted triangular silhouette.

Because it would collide with what we've done.

But, it's possible to

add in a small diamond silhouette

or an 8-shaped composition.

There are a lot of different diamonds.

There could be an exact diamond like this,

and there could be a diamond that's longer at the bottom.

There are also diamonds that're longer at the top.

There are also diamonds with longer sides.

We looked at the different types of diamonds,

so, we can now mix them.

For example, this character uses tree power.

You may think that because it uses tree power,

you want it to look holy,

just like a goddess.

How would we do that?

Remember it's good to add a silhouette behind the head?

So, I'll draw a trunk like this.

You'll see that the impression changed suddenly.

The character has different impressions

depending on whether it has this trunk or not.

I'll add horns to the character for better focus.

So, silhouettes and gazes are all about

designing an illustration based on

the mood you want to create.

So, these two elements

would be the key elements to address

if you want to be an illustrator.

Drawing a character beautifully

and having a gorgeous drawing style

are actually just additional elements.

That's what I think.

Of course, in commercial art, your drawing style is very important.

You need to have a charming drawing style.

Also, you shouldn't be lazy in

experimenting with it.

But, before that, you need to understand how to

compose your illustration.

I think this is the biggest element

that can affect your growth as an artist.

You may think that you have to

study this part separately.

You may think that you always need to have your intentions.

That isn't true.

If you keep studying,

if you keep drawing,

if you continue drawing, even if you're ignorant,

someday, you'll learn these parts just by doing it.

You'll get a hunch.

If you just draw, you can make a good silhouette.

But you'd have to

draw a lot. Really a lot.

For about three to four years.

You have to draw at least that long

to grasp the basic concepts.

But, you're not here to do that, right?

When you're seeing this video,

you should focus on

intentionally using

gazes and silhouettes.

You should use them intentionally

to grasp these concepts with your head

instead of grasping them with muscle memory.

This is something

I emphasize to my students.

Actually, muscle memory is the best.

If you have good muscle memory,

that would mean you were talented

from the beginning.

But that might not always work.

For instance, each person has

their own strengths.

There are people who like drawing calm illustrations.

There are others who are good at drawing dynamic illustrations.

Others are good at drawing cute illustrations.

So, everyone has their own strengths.

But, that would mean,

people usually can't draw something that's opposite to their strengths.

For example, if you can draw calm characters well,

your weakness would be cute characters.

It would also apply

to the opposite situation.

But, it's actually clear why those are your weaknesses.

It's because you don't have muscle memory.

So, when someone is good at

drawing cute characters thanks to muscle memory,

if they rely on it too much with calm characters,

the character would end up looking cute.

So, in a lot of cases,

you wouldn't be able to follow your intentions.

In order to minimize these situations,

I'll tell you all about how to use your intentions.

If you focused on cute characters

so far,

practice drawing calm characters,

and make the silhouette in a triangular shape.

Make sure the viewer's gaze goes downwards,

and work on your illustration.

After you're done, compare it to your previous drawings of

calm characters.

Did your character actually appear calm?

If it did, today's lecture

will have been a success.

That's all I want to tell you.

The illustrations on the right look like an elemental table, right?

Well, it's kind of like that.

It's kind of like an elemental table.

These would be our tools to help us

express a character.

So, first, we worked on a character

that looks calm and holy.

We'll work on the same character again, but,

we're going to use an inverted triangle and a pointy silhouette

to make it look aggressive.

You'd usually do this when you're drawing armor.

If you're an avid fan of RPG games,

you would have seen this silhouette often.

Because high-level weapons need be threatening,

characters who use those weapons

or characters who are the enemy

tend to have pointy silhouettes.

But, it doesn't necessarily have to be armor.

Even if it's a hoodie, if you draw it pointy,

you can make it look aggressive.

Today, I want to show you dramatic differences,

so I'm drawing some armor today.

But, later, when you're actually drawing,

make those changes to a simple hoodie.

A sharp hoodie,

and a soft hoodie.

Just by drawing different types of creases

you can change the character's impression.

We need to make sure the gaze heads upwards.

If you control the silhouette like this, the middle will be empty.

So, if we follow this black area,

it will turn around at the upper body area.

Because our gaze would draw a circle at the upper body,

our gaze would be focusing there.

The silhouette at the bottom

needs to be as simple as possible.

We need to add more details to the top.

Let's draw horns

to make the silhouette pointy.

Because our gaze should be headed upwards,

in the middle area, our gaze shouldn't go sideways.

It would be better if our gaze focuses at the middle.

This way, we would get an inverted triangle shape.

To make the silhouette a strong inverted triangle,

we're going to make the gaze go up.

Let's utilize the hair.

Previously, the hair sank downwards

so it gave off a calm impression.

So, let's modify the hair a bit

and make pointed hair

that goes upwards.

And if we modify

the facial expression,

we'll end up with a character

with an aggressive look.

As you can see, the silhouette is important

when it comes to describing a character.

The same applies to weapons.

If you want the character

to look even more aggressive and hostile,

place the weapons on top.

But, if you want the character to look heavy

and if you want to use complex compositions

by giving a heavy impression

and a sharp impression at the same time,

you can place more elements

at the bottom.

If you give an axe to this character,

it will look aggressive like before.

Also, because it has more elements at the bottom,

it will look more stable.

So, we now have a character that looks

a lot different from the previous one.

You can clearly see that the character

will be

very aggressive.

If you want to emphasize its aggressiveness,

make sure you put more elements at the top.

Then, the gaze would go up,

and you can emphasize the aggressiveness.

I'll tell you another method.

If you want to use methods

other than designing the character,

you can lift its arm like this.

You know how aggressive characters

sometimes make a cringey pose?

For example, they would make a pose

where it looks like they're grasping something at the top.

Well, in the end, the purpose is the same.

Because its poses would be cringey

and aggressive at the same time,

to emphasize that, we can lift its arms up

and add more elements at the top.

Like this.

This fire can be a supplementary element.

So, the more elements there are at the top,

the more the character would look aggressive.

That was the second example.

Let's add another example.

I'm going to draw a cute character now.

I'll keep on working with the same character.

If you want a cute atmosphere, what kind of silhouette

should you use?

Well, we can't say a calm character

looks cute.

We could say that it looks pretty.

So, for the upper body part,

we'll create an inverted triangle and a diamond silhouette.

I'll use these compositions.

And, if you want the silhouette

to look cute,

you can use a round silhouette.

So, I'll utilize this round silhouette.

What should you avoid?

If you give it a calm atmosphere

along with an 8-shaped composition,

it will look holy.

You should avoid these

to make it look cute.

So, now that we decided what we should avoid,

let's utilize that and design this character.

Remember how I said a round silhouette would be appropriate?

So, you should keep thinking about

what clothes would look good.

Even when you dress up the arms,

you can make the sleeves round.

I'm going to use a diamond silhouette.

Because this character

has both its arms downwards,

if I use an inverted triangle silhouette,

I think the shoulders would be too broad.

So, I'm going to make the silhouette

have an overall diamond shape.

Instead, I'll draw

a lot of round elements.

That way, it will certainly look cute.

Round hat,

round shoulders,

and round arms.

Even with the gloves,

I'm going to make them round.

I'm also going to make them thick.

Mittens would work well.

The cloth around the neck will be thick, too.

So, overall, the silhouette is round.

Now, the viewers should focus their gaze

right in the middle here.

In a diamond silhouette, the gaze goes towards the middle.

So, to make the gaze go towards the middle,

we can put more elements for the clothes.

The buttons that I drew

are also part of the silhouette.

If you want to draw buttons on an aggressive character,

it's better to use pointed buttons.

Like this.

Even with small design elements,

it's really important to maintain the silhouette.

When you draw a cute character,

even when a small element like a pointed button is added,

it will look awkward.

So, if you're going for a cute character,

all the lines composing it

should be round.

Then, you can emphasize the mood better.

Let's now design the character

while thinking of ways

for how to make the gaze go upwards.

Exposure is one of the most important elements to use in design.

Basically, people's gaze will head towards the skin.

So, depending on where the exposure is,

it will be an effective tool

to direct the gaze intentionally.

For example, I'll create some exposure in this area.

Then, naturally, the gaze would go towards

the waist area around the chest.

Make sure that these outlines

go outwards.

To make the character more round,

I'll use things like skirts

to keep using round shapes.

Add in additional visual elements

where you want the gaze to flow.

If you want to add accessories here,

make sure they are round too.

The boots should be round as well.

From long boots and short and thick boots,

the latter will look more round.

So, if you're really aiming for

a cute character, the boots should be thick and short too.

That's also why a short character

is generally cuter than a tall character.

The same principle applies here.

With shorter characters, it is easier to

apply round silhouettes.

So, if you're designing a character

and if it doesn't look as cute as you intended,

and if applying round silhouettes isn't enough,

modify the body type of the character as well.

Don't get me wrong.

When you're designing

while drawing an illustration,

the thing we're designing

is the character, just like when we compose a screen.

We're not designing the clothes.

Of course, when you do practical work,

you'll design clothes someday.

But, aside from that,

we would normally design

the character itself.

There are a lot of elements to it,

including the skin color, the face shape,

the personality,

and even the body type.

So you should utilize these elements well.

If this character looks too bland

compared to the previous two characters,

from now on,

let's utilize the visual aspects more.

Basically, if the main and sub elements

are placed all over and if they are

placed without any empty space,

it's easier to create a cute atmosphere.

When we say something is small and cute,

there are usually a lot of round elements

and they are intertwined with each other.

That's what we usually mean by 'small and cute'.

So, when you're drawing a cute character,

it helps if there are a lot of objects around it.

For example, let's say there are spirits

following this character around.

They would be floating around it.

Do they look too scary to you?

It could be because they're black.

Then, let's make them look cute.

We can draw in eyes like this.

Maintain the overall silhouette of the character

and add pockets and buttons as much as possible.

That way, you will be able to use the silhouette

when you're doing cute characters, too.

Let's change the facial expression

and the hairstyle to fit our intentions.

I'm going to put in side-tails so that the gaze goes up

compared to the triangular silhouette.

So, there are a lot of elements at the top.

But, it's not sharp and pointed like the second example.

We know have a character that is

round and cute.

Design-wise, you can create an atmosphere

just like this.

Of course, like I mentioned before,

the silhouette

applies to the design stage

and the illustration stage.

So, let's find out more about that.

We just went over three examples.

They were a calm character,

an aggressive character,

and a cute character.

I'm sure you've noticed what the differences are.

So, now

let's find out how to use these silhouettes

in illustrations.

For this part, we're going to

analyze some of the works

that I've done so far.

You can clearly see that with this illustration,

the overall silhouette is a triangular shape.

It has a triangular shape,

and if you look at the parts that are yellow,

which is the key color of this piece,

they go inwards from outside

and then outwards again.

That is the overall flow.

So, with this illustration, I made sure to

make the gaze focus

in the center as much as possible.

There are a lot of elements at the bottom,

but, at the same time, I wanted to make

a strong facial impression.

So, I wanted the gaze to go towards the face.

That's why the letters are at the top.

The letters themselves aren't that important.

I induced our gaze to go upwards

by placing the letters at the top, so it's meaningful that way.

So, by using a triangular composition, I made this illustration calm.

But, at the same time, I made the gaze

focus towards the face.

That's what's important.

This example is the complete opposite.

This example has

this kind of composition.

An inverted triangular composition was used.

I wanted to give it a strong impression.

Also, the main element

is the area around the face.

And, in this area,

there aren't any elements that make you focus.

All the focal elements are at this part.

And around it, there are elements that act as a point.

You can see flower petals flying around.

Actually, when you make these kind of elements fly around,

you can make them all connected, systemically.

In the end, dots make up a line.

If we have a lot of dots, they will form a line.

With that in mind, I made sure

that these lines

will draw a curve when they are connected.

So, you can see that I focused on

making the gaze linger a bit longer.

The important thing is that by using an inverted triangle,

I created a stronger impression compared to

the previous example with a triangular composition.

If we explicitly use the triangle, we can use it like this.

We're now on the third example.

With this example,

the triangle doesn't cover all of the screen.

It only covers the side area.

Also, the middle is empty.

So, the area with the characters,

in other words, the area that we would focus on,

is small compared to the whole illustration.

Because the area is small compared to the whole thing,

it will be an illustration

where you can rest your eyes

since it is empty overall.

So, if you want to give a calm impression,

you can use this to your advantage.

Say there's only one element in a large area.

Sounds calm, right?

But, if there are a lot of elements that fill up the canvas,

it will be more suitable for a cute illustration.

So, with an illustration's first impression,

the silhouette is as impactful as

the things we looked over so far.

So, you can modify these things

depending on the mood

you want to create.

Actually, up until now, the things we learned today were similar

to what we learned last time.

What else can we do?

Like I told you at the beginning of today's lecture,

the theories related to the silhouette

are actually endless

when you dive deep into it.

So, you should study these parts,

and make the knowledge your own,

little by little.

What we'll do today is

just go over the essential elements

that are used often for practical work.

We're back to composing the canvas.

When we're drawing this character,

and making it into an illustration,

let's think about

what we can do

to make this character look cute

or strong.

If you're deciding on whether

you should make the gaze focus or not,

you should make it focus.

Because you would want to make a strong impression

and you would want to

make the viewers actually think

that this character looks adorable.

If you want to create that atmosphere, the silhouette

should be round overall.

Because we want it to be cute.

We also need to think about the focal points.

The focal points.

Where does the character look the most cute?

I think it would be the upper body area.

So I want to emphasize that area.

I'll emphasize the upper body part

and make sure the silhouette has a strong and round impression.

So, let's look at how you would compose the canvas

by applying what we learned.

Let's keep that in mind as we continue.

The first thing I'll tell you about

is a cut-off silhouette.

So, what is it?

When the whole silhouette is on the screen,

and when we can only see part of it,

they create very different atmospheres.

When you watch certain videos, you'll see letterboxes.

What are they?

These are the black boxes at the upper and lower part of the screen.

We call these letterboxes

and we put subtitles in them.

This plays a major role in making the viewers focus

on the video.

The screen is cut off at the top and bottom

and it would be easier to focus on the middle.

Because we don't like the black boxes,

we tend to focus on the middle.

But this isn't just a theory.

In some horror games,

there are games in the letterbox format.

Some developers actually mention this

in their interviews.

They would say that

by adding letterboxes, they made the gamers more terrified

by making the screen narrower.

It is very effective to give a claustrophobic feeling

when you want to instil fear.

So that's why the developers used

letterboxes for their games.

So, why am I mentioning this?

Would this be that important

when you want to draw cute characters?

Well,

if you want to give it a strong impression,

and make a strong first impression,

cut-off silhouettes are used often.

Of course, if you use letterboxes,

it becomes too serious,

so you shouldn't use them.

Nevertheless, not every part of your character should go in the screen.

Just make a part of it be visible.

I'll add in elements that make the character cute.

Should I place the elements around the face

or far away from the face?

If they're far away, the atmosphere would be calm.

So, make sure these sub elements

are placed around the face.

Make sure the overall silhouette

is round.

Actually, just make sure all the elements are round.

You can even draw round teeth.

And, to make sure the illustration looks crowded,

let's keep adding more elements.

When we add different elements,

they can be utilized to create a cute atmosphere.

The character itself is cut off, like this,

so it's easier to focus on it.

It will make a strong first impression,

and it has a round silhouette.

It also has an inverted triangular composition, not a triangular one.

So, our gaze focuses on the top.

And the canvas looks very crowded.

So, what we've learned about the silhouette

is not only applied to the design stage

but to the illustration stage as well.

Let's summarize.

The silhouette is related to the plane

from among the point, line and plane.

The plane decides our first impression.

There are a lot of different types,

and today, we went over

the triangular composition, the inverted triangular composition,

the diamond composition, and the 8-shaped composition.

That would make the first impression.

The second impression would be related to the feeling of the silhouette.

Whether it's round, curved, or pointed.

Utilizing these well will help you focus on

expressing a character's atmosphere.

So, mix and match these as you want,

to describe the character you want.

So, I showed you three examples

that could be used in character design.

And, with the theories related to the gaze,

I drew a thumbnail of an example used for illustrations.

Keep these in mind,

and as you do so, we'll work on illustrations later on.

I'll go over them once more in later classes.

From now on, we'll focus on the design.

We'll utilize the silhouette

and the gaze

to simply design a character.

We'll design the character

and we'll create a full illustration based on it.

It would be an illustration

with a background.

We'll also work on portrait illustrations.

Like this one.

When you do that, apply what you've learned

and create the atmosphere you're going for

when you make a character.

That's all for now,

so that's the end of today's lecture.

Keep up the great work.