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Hello.

This is the last chapter of Section 3.

Today, we'll learn about coloring.

In the previous lectures of Section 3,

we learned how to direct the gaze.

We also learned

how to use the silhouette

and learned how to further direct the gaze.

We also utilized those things

to design a character.

Now, in Sections 4 and 5,

we're going to draw an illustration based on a character design.

To do so, you need to understand lighting.

So, I have included this chapter.

Actually, lighting is a very logical concept

and you need to know a lot of theories.

So, it is a bit difficult to understand this concept well.

But, being logical means

there aren't a lot of variables to it.

So, once you've grasped this concept,

you can apply it to colors as well.

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So, there are color palettes that people like.

If you memorize those palettes,

or if you simply familiarize yourself with them,

you can use them to create different kinds of

illustrations.

So, before we learn coloring,

there's something we need to know in advance.

We need to know about the amount of information.

Actually, this concept doesn't just apply to the lighting.

It applies to all other theories as well.

For example, the amount of information could include

things like

if a character's face is detailed

or not.

We can also question if the coloring is detailed or simple.

We can also ask if the design is simple or not,

or if there are a lot of sub elements.

The amount of information

is like the seasoning on food.

So, the quantity doesn't guarantee quality.

You should put in the right amount for your illustration.

However, I should say that

there should be at least some amount of information.

Unlike animations or comics,

with illustrations, you need to look at a piece for a long time.

So, we need some amount of information

in a piece of drawing

so that the viewers can actually enjoy it.

So, how can we control it

while we are learning coloring?

Well, these are some of the elements we can control.

We can control the saturation,

the density,

the contrast,

and the hue.

Usually, we would control these things.

They have literal meanings.

When you look at this Color Picker,

the saturation would be

the horizontal axis on here.

The stronger it gets, the stronger the impression the color gives.

If we see this baby pink color

and this red color together,

you can see the red much more easily.

So, the red color would have more information.

The density would be

how dense the depiction is.

Let's describe the left dot like this.

And let's describe the right one like this.

If there are a lot of colors like this,

when we see the left and right dot together,

the right one will be more eye-catching.

So, it's one of the elements that help you

control the amount of information.

I actually described the contrast a bit previously,

and for this example, I explained the density.

If I just apply the density to this example,

just doing this will make the right dot stand out more.

I'll apply the contrast like I did before.

When there's a higher amount of contrast,

it will have a higher amount of information.

The same with hues.

If you have many different types of hues,

for example, if this red color

keeps on changing like this,

the overall impression would be stronger

compared to the one on the left.

So, if we utilize this, we can control

the amount of information in the coloring stage.

Of course, in the drawing stage,

you would control the amount of information.

But, the coloring has to be in accordance with the drawing.

So, when you modify the coloring,

you use these to control the

amount of information.

This is the key point

of the coloring theory that we're learning today.

I said before that the amount of information

is like adding spice.

We say that a food is bland if there's no spice.

But, if it becomes a bit more salty, we say

that it is savory.

If it becomes even more salty,

we would think it's too salty.

But, if the salty flavor itself

is the main flavor, we would say it has

just the right amount of salt.

But if it becomes overly salty, we won't enjoy it.

So, you can see that there's the right amount of seasoning when cooking.

There are illustrations with little information

that are easy to look at from the first glance.

So, the coloring method for simple illustrations

and the coloring method

for more complex illustrations

that are more detailed

would be different.

So, the composition you want to show

would depend on how you create it.

So, keep that in mind.

Here, we have a lot of coloring methods.

Depending on the lighting, the coloring style

or the skin tone would change drastically.

For example, the skin here

and the skin here have very different colors.

We have this information,

but, actually, we can't learn it if we just look at it.

So, let's get into the actual practice today.

I have the same character from previous examples.

I'm going to give it some lighting.

I'll explain a lot of things,

so let's move on!

I'll use the Multiply Layer

and clip it to the illustration.

I previously mentioned that you can control the amount of information with coloring.

This character has a very bland design.

It's only wearing a swimsuit,

so it looks bland.

Later on, I'm going to dress up this character too.

When you're coloring a bland character,

and you want to make a strong impression,

you can simply just do that.

But if you want to also

give a good impression to the viewers,

you need to also increase the amount of information it has.

Then, how can we increase it

while we're coloring?

We can control the light and shadows.

The parts that are shadowy

are called the dark areas.

So, if there are more shadows,

there would be more information.

That is why

if you want to emphasize the character's skin,

it will be effective to just

increase the amount of shadows.

How would we do that?

Should I give it light from the front?

If I do that,

the light would go to the character's side.

Because it will go sideways,

there won't be much shadow.

So, this illustration would give a strong impression.

That's not what we're aiming for.

Then, you can set the direction of the light

so that it would be more shadowy.

Instead of putting light from the front,

give it light from the top, the bottom

or from the side. That's how it's normally done.

If you give it light from the side,

overall, it will look lonely,

and we can give it more information.

It's good to make the shadow wide in this process.

I'll make one leg go backwards more.

I'll apply a lot of shadows to it.

Change the hues for each part

so that it goes along with the other parts.

I'll also adjust the contrast.

If you want more information, increase the contrast,

and if you want less information, decrease it.

That's how you would balance the whole thing.

If the color becomes lighter,

there would be less information.

Adjust the amount of information

so that you get an illustration

to your liking.

That's how you control the amount of information in coloring.

Depending on the amount of information you want to give,

control the angle of the lighting

to increase or decrease the shadows.

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You can additionally control the saturation, the contrast

and the density of the shadows.

Density means how much the elements are gathered together.

If there are a lot of small shadows,

the density would increase.

If you split up the shadows

or if you do this,

you can see a clear difference from the previous one.

Before,

and after.

If you look at it from far away, you'll see that

the second one has a stronger first impression.

So, when you want to give a lot of information to the viewers

while still keeping the character design simple,

you can increase the information through coloring.

That's the key point of today's lecture.

You can increase it even more drastically.

Let's give it light from the top.

If you do this dramatically,

give light from the top like this,

and increase the shadows as much as you can.

The more shadows there are,

the more information there should be,

and with more information,

the first impression will be stronger.

Let's compare.

Before,

and after.

You see the differences, right?

At first glance, does the character make a strong impact?

Or does it merge into the background

and take some time to be recognizable?

Be aware of these differences.

So far, I told you how the amount of information changes

depending on the lighting.

Now, let's learn more theories about lighting.

We're going to use light

so we need to know what it's about.

First, I'll give the definition

of what light

actually is.

Light.

There is light when

we start perceiving an object.

When we 'see' an object,

we're not perceiving the object itself.

We're perceiving it because

we see the light bouncing off the object.

So, when we see an object,

light is an essential element.

I just mentioned that objects reflect light.

Let's find out about this.

Basically, an object reflects light differently

based on its color.

For instance, let's say the sunlight is white.

White light

contains all the colors of light.

On the other hand, when there's no color,

there would be black light.

So, all the colors are included in sunlight.

What does that mean?

Let's say a rainbow is formed here.

The rainbow is here,

and let's say the character has

a yellow object.

If it's a yellow object,

what kind of light would it reflect?

This object

reflects yellow, just like its original color.

Then, what happens to the other light colors?

The object just absorbs it.

What phenomenon happens because of this?

You know when we have black shirts and white shirts,

we would wear white shirts in summer?

Why do we do that?

Remember how the color white contains all colors?

That would mean

white objects reflect all colors.

Because it reflects more light, it absorbs less light

and when we wear it, we will feel much cooler.

On the other hand, black clothes absorb all light.

That's why when we wear it, we will feel hot.

So, with white clothes and black clothes,

there's that kind of difference in heat.

So, now you understood that an object reflects light.

It reflects light that has the same color as itself.

So, how can you utilize this in illustrations?

Here, you need to be aware of

the background color.

When you're illustrating, you often need to

depict the background color well.

So, let's find out what it is.

The background color is the color of the background.

You can think of it as the color

of the air in the space.

Let's say a character is in a red room.

If it is in a red room,

what would the overall atmosphere be like?

Well, the character would look red.

Just like when we go to a butcher shop.

But what happens if it's in a green room?

Everything would look green.

Then, we say the background color is green.

Then, let's see how

the background color would be applied.

Let's say there's an object.

I'll draw it as a circle.

There's an object,

and it is yellow this time.

And right next to it, there's a blue object.

I'll explain it more in detail,

but these two colors are complementary colors.

Complementary colors are

on the opposite sides on the color wheel.

In other words, they are opposite colors.

So, now that we have colored them,

we're going to give them lighting.

I'm going to use the Overlay layer

to give them lighting.

I'm now going to give them yellow lighting.

Remember how yellow objects are yellow

since they reflect yellow light?

Then, would the saturation be strong or weak

if we give it yellow lighting?

When you give it yellow lighting,

it will have a stronger saturation.

If you see the Color Picker on the right,

you can see that it goes to the top right.

Going to the right means the saturation is getting stronger.

Then, on the other hand,

when there's yellow light,

let's think of what would happen if there's yellow light

on a blue object.

Blue objects reflect blue light.

So, that would mean,

when there's yellow light, which is the complementary color,

it means the object has no light to reflect.

So, when you give it yellow lighting,

the saturation goes down.

It's the opposite with yellow objects.

So, this object has no light to reflect.

This object can reflect blue light,

so, when there's yellow light, which is a complementary color,

it absorbs the yellow light.

But, if there's blue light, the situation becomes the opposite.

The blue object has a stronger saturation,

and the yellow one has a weaker saturation.

Depending on the type of lighting,

the color of the object would change.

So, it's very important, and it's very complex.

You need to remember this

because we are going to talk about optical illusions.

That's why I emphasized background colors.

Optical illusions.

Basically, human eyes have a deficiency.

Actually, the optic nerves should be placed outside of the eyes.

But, our optic nerves are inside the eyes.

So, we have a lot of optic nerves.

And when light passes through them,

we should be seeing our optic nerves.

But, when we actually look at things,

we can't see the numerous optic nerves.

Why does that happen?

People's eyes tend to vibrate.

Our bodies vibrate,

and when our eyes vibrate, our optic nerves

also vibrate in the same frequency.

So, the brain

automatically deletes the vibrating optic nerves.

It perceives it as a part of our body because it vibrates together.

So, it decides not to show them

in order that we would only see the scenery around us.

So, the optic nerves that vibrate with us

are deleted from our minds.

So, the brain uses a lot of energy.

And in that process,

optical illusions are created.

Those were the basics, but it wasn't that much.

Then, what should we know about optical illusions?

There's a lot we need to know.

If there's a straight line and a curved line,

while these two are actually the same length,

the curved line looks a bit longer.

Or, when there's a cut off line,

instead of connecting them,

it looks more natural when one of them is lifted.

Because the line goes downwards,

it looks like it goes down more in this area.

So, instead of connecting them,

it looks more natural

if one of them goes down a bit more.

You'll use these optical illusions some day.

But, the ones I mentioned are not related to color.

Then, what kind of optical illusions do we use with colors?

It's the contrast between warm and cool colors.

This is also very important.

The contrast between warm and cool colors.

It's a phenomenon that happens when there's contrast

between warm and cool colors.

Before that, let's talk about the mood of colors.

When we say warm and cool colors,

which colors are warm and which colors are cool?

Reddish colors will be the warm colors.

Colors like red, orange and yellow are the warm colors.

On the other hand, the bluish colors will be the cool colors.

So, when we use them,

why is the contrast between them so important

that we have to remember it?

The first thing we need to know

is that when two colors are used together,

both of them are emphasized.

When we use red and blue together,

because they are warm and cool colors,

when we look at an image,

they look a bit remote from each other.

That means both of them are emphasized.

So, if you slip up with the color choice,

the illustration could look out of style.

It could look childish and distracting.

And your eyes could hurt looking at it.

But, of course,

you can compose the illustration

so the viewer's eyes get sore on purpose.

But, if you don't want that

and if you want a calm illustration,

then how would you use warm and cool colors.

The first method is to

increase the area for one color.

If there are a lot of reds,

and if the blues are only placed in small areas,

you can divide it into the main elements and the sub elements.

Of course, it can be done the opposite way, too.

If one color becomes the main color,

even if both colors are emphasized,

we can arrange the colors effectively.

The second method is to

decrease the saturation of one of them.

I decreased the saturation of the blue part.

So the red part is emphasized more.

You can put an emphasis on one of the colors

to give them some balance.

So, when do we use this method a lot?

We use this with complementary colors.

Remember how complementary colors are opposite colors?

So, let's do this.

Green is the complementary color of red.

Look up the color wheel for this one.

What happens if we use them together?

It becomes out of style.

It kind of looks like kimchi.

So, when you're using complementary colors,

if you just use this, it will look awkward.

So how can we use this?

We can set the red as the main color

and set the green as the supplementary color.

Or, you can decrease the saturation of the green,

and if you do that,

the red and the green complement each other well.

If you just think of

the impressions of colors,

complementary colors

harmonize with each other.

But, when you're using them,

if both of them have a strong saturation,

your eyes would be sore and the illustration becomes too strong.

So, if you decrease the saturation of one of them,

you can balance the overall image well.

That's the method we use for cool and warm colors.

This is used often, so remember it.

Now, let's look at another example.

What we previously learned was that when we use

complementary colors for the warm and cool colors,

they emphasize each other.

What we're going to learn now is

when a single color fills up a screen,

and when a color with low saturation is placed inside,

it looks relatively bluish.

Let's say that in a classroom, all the students are nice.

They're all nice kids,

but one of them slipped up

just once.

But, because all the other kids are nice,

he or she would grab everyone's attention.

It's the same logic.

The background color is red.

And this color just has low saturation.

So, to our eyes, it looks blue.

Let's look at another example.

I worked on this a long time ago.

When you look at the characters' skin color,

you can see that they have realistic

skin tones.

But, what if we use the Color Picker?

You can see that not even orangeish colors were used.

The colors are all bluish.

But, because the skin colors have lower saturation

compared to the blue background,

the brain automatically perceives it as

being a reddish color.

Because of this optical illusion,

a lot of people make mistakes with colors.

When we have a background like this,

even when we have a small reddish area with low saturation,

it looks like a beige color.

It looks like a yellowish color.

The color I picked with the Color Picker is purple.

But, it will look yellowish, not purpleish.

The difference between knowing and not knowing

these optical illusions

will be huge when you color your works.

So, you need to know about them.

So, we've looked at warm and cool colors.

The two important things we should know are

first, when two colors are both emphasized,

and two, when one color predominates,

even a small low-saturated color draws attention

and looks like a complementary color.

So, let's utilize this

to give lighting to the character.

Let's create a scenario.

Let's say the sun is setting.

So, overall, there would be a lot of orange.

Because the character's skin is generally yellowish,

the color of its skin will have higher saturation.

It will have higher saturation,

and the overall color will be yellowish.

If you think about whether the light is strong or weak,

the sunset light will be weak.

Because it's weak, the contrast will be smaller.

Stronger light means bigger contrast

and weaker light means smaller contrast.

So, there's less difference between the light and the shadows.

Let's say the character has a blue crystal ball.

It has a blue crystal ball.

Let me make it more natural.

It's holding a blue crystal ball like this.

Then, what would happen if it gets yellow light?

How should we compose it

so that it harmonizes with the background?

Let's apply the sunset to the background.

The answer would be decreasing the saturation

and increasing the reds.

What color do we get with blue and red?

We'll have purple.

I'll control this slider.

So, the color

will look like this.

This ball used to be blue.

But, because of the orange light, it is now a low saturated purple color.

You can understand it like that.

So, this is how you moderate colors

based on the coloring method you used.

Now, we're going to give blue lighting.

What would happen if we give it blue light?

Then, the ball would have a higher saturation.

It will have a higher saturation,

and it will be more bluish.

Same with the character.

We're going to give it blue lighting.

But, it will be the opposite for the character.

Its saturation will decrease a lot

since its skin color is a reddish color.

The saturation would decrease,

and its skin color would have more bluish colors.

That's how the lighting will be applied.

A character that is lit at night

would be in this kind of background.

So, when you're coloring the background,

the contrast between warm and cool colors

has a huge impact.

Knowing these things and applying them

was what I explained today.

So, now we learned how to

control the amount of information with lighting.

We learned how give more or less information with lighting.

We also learned the basics of

how to use warm and cool colors to

color in the background

and how those colors would change.

Now, all that's left is the actual drawing.

Let's apply what we've learned to an example.

Now, I'm going to draw a night background

behind the character.

Because it's night, there will be dark blue lighting.

And the character would be in that background.

Now, when we think of lighting,

there's something we need to decide.

When we set the lighting, there are

four things we need to think about.

The first thing is the number of light sources.

With an illustration, there could be

more than one light source.

So, we need to decide on its number.

The second would be its direction, which is also important.

We need to set its direction.

Third, there's the intensity of the light.

How strong should the light be?

Fourth, the color.

What color is the light?

So, these four aspects

are very important with lighting.

So, when you're drawing,

I recommend you make this chart and continue.

So, now we're going to draw a night background.

Let's see what kind of lighting we will apply.

I'm going to go in more detail

when we get into detailed coloring.

The lighting I'll give now

is a weak blue light coming from the front.

And from the left behind

I'm going to give

a bluish white light

that is strong but with low saturation.

So, let's apply these.

Let's look at the frontal lighting first.

The frontal light is weak.

What happens with the contrast if the light is weak?

If it's weak, the contrast decreases.

So, the overall contrast of the character would decrease.

I'll minimize the difference between the bright and dark areas.

I'll minimize the contrast like this,

and the overall color will be

a strong bluish color.

Because the light is weak, it will spread out more.

This is called soft light.

But, I'll go into more detail later on.

So, that's it for the frontal light

which spreads out thinly.

Now that we're done with that,

let's apply the Backlight.

We decided to give it light from behind to the left.

So, I'll make a new layer

just like this.

When we give this kind of lighting,

we must understand

the three-dimensional information of the character.

So, when you're coloring a three-dimensional object,

and if you don't know which planes should be brighter in what way,

you shouldn't practice coloring

but practice drawing instead.

When you have a better understanding of where an object is headed,

your coloring will be more

accurate and precise.

So, to do that,

you need to study forms.

It's best if you study forms when you draw.

So, this way, a character that gets light from the back at night

is complete.

If you draw a simple background,

it will be this kind of drawing.

You might have seen this lighting style previously.

So, let's compose other situations too.

Now, I'm going to

color a character brightly, and also give it a bright background.

So, when I apply that, how should I do it?

I told you that this character's clothing is simple.

Because it is simple, when you apply shadows,

it's better to increase the dark areas.

Now, we're going to give it some variables.

This would be my thought

when I want to dress it up.

When I give it detailed clothes,

the lighting will become quite different.

Because the design itself is information.

So, if we utilize this example with clothes,

and if we apply shadows just like we did before,

you can see that

the illustration becomes quite complicated.

Previously, when there was just skin,

and when lighting was applied,

the character would just have a strong impression.

But, because it has sophisticated clothing,

the illustration would look very dark

and complicated.

It would have a much stronger impression.

So, when you want to

draw sophisticated outfits

to increase the amount of information,

you should apply less lighting

and decrease the dark areas.

That way, the drawing would be much more neat.

If you do this,

it would have a much more neat impression.

There's another method.

I mentioned decreasing the dark areas.

But, to be precise,

it's all about whether the dimension of

the light and dark areas are equal.

So, previously,

I applied a lot of lighting to it.

The second method would be

applying a lot of dark areas.

Let's give it a weak amount of darkness.

We'll give it just a little bit of light.

We're not giving light to a large area,

but we're giving light only to a small area,

like this.

So, in this way,

we only slightly colored the illustration.

So, these two methods,

in other words, by either increasing the light or the darkness

to cover up the surface,

they are commonly used when the design is sophisticated.

This would be utilizing the amount of information.

This is how we would describe

a character in daylight.

We also experimented with the night lights.

And also daylight.

So, we looked at two scenarios.

If you've learned this much,

you can keep changing the settings

to apply lighting to the illustration.

Let's go to the beginning.

Let's set the table

when we're looking at these pictures.

With this example, the light is coming from the top left.

And the light will be a reddish light.

It's a reddish light,

and you can see that the top left is bright.

You might ask if this character's shadow has no light at all.

But, that's not true.

I'll explain it further later on, but,

the fact that we can see this object

even without light,

means that light is coming from somewhere.

The light that would be applied is the background color.

We can predict the background color

when we look at the character's shadows.

So, we can know that this character's background color

is a reddish color.

So, in this example,

there are two main kinds of light.

The light coming from the top left,

and the background color that comes to the shadows.

Actually, the background color is all around the character,

so it's hard to set its direction.

Just think of it as coming from the front.

Because, our eyes perceive

extruding objects as being brighter.

When there is reflecting light,

and a reflecting light that comes from afar,

this light would be more strongly reflected.

Then, the light looks strong from the foreground.

So, when you're looking at an object,

the highlight is usually placed at the front.

So, to think of it simply,

the background color comes from all directions,

but is stronger from the front.

Let's fill in this chart.

We have two lights.

The direction would be the top left

and the front.

The color - this would be a red color

that has low saturation.

If it's highly saturated, the skin would be really red.

The dark areas have highly saturated red colors.

The intensity of the light - this light is strong,

and the background color is weak.

Those would be the characteristics.

The same would be applied here.

If you apply those things,

because the character

is in a blue background,

you can see that its skin has low saturation.

Also, there's additional lighting from underneath.

If we have different lightings like this,

we can make a chart like this,

and we can approach it more easily.

Most of all, it will help you a lot

when you draw the exact image

that you thought of.

I emphasize to my students

to draw this chart.

So, when you're creating an illustration,

and if you're coloring,

before you do that,

I recommend you to draw a chart.

We're doing this because

if we don't do this,

say you want to give the character a different lighting

to what you've previously done.

But, as you work on it,

the lighting will be similar

to what you've previously done.

So, to prevent that, you have to draw a chart.

I'll give you some more examples.

What kind of lighting should I apply now?

Suppose we're placing this character in a green room.

The background will be green.

I'll create a new Layer.

Because the background will be green,

the overall color will be more greenish,

and because its skin color is yellowish, or reddish,

the skin color would be less saturated

and blend into the green background.

So, now I'm going to give it lighting,

but say that you want to give it soft lighting.

So, now we'll learn about

Soft Light and Hard Light.

This isn't something that's too difficult.

Literally, Soft Light is

a light that softly spreads out,

and Hard Light is

a light with vivid shadows.

So, the Hard Light will be a stronger light,

and the Soft Light will be a weaker light.

So, how would they look?

Previously, I mentioned 'the amount of information'.

Out of these two, the one with

generally more information

is the Soft Light.

To put it simply,

with Soft Light,

the light layers are divided up between

the light area and the shadow area.

Hard Light just creates two light layers.

So,

because of the amount of color,

Soft Light looks more complicated

and creates better focus.

So, now I drew

the character's clothes simply.

If you want to make it heavy

while still maintaining the simple design,

so that the gaze

would focus on the character,

it would be better to use Soft Light.

So, let's use it.

I'm going to make the light come from the front.

To make it look soft,

I recommend that you paint with Airbrush brushes.

The dark areas

wouldn't be suddenly dark, but they would gradually get darker.

Let's keep putting in more information.

It's different from the method I used when

I explained the amount of information.

Previously, we increased the amount of shadows

to increase the amount of information.

Now, we're not increasing the amount of shadows,

but we're increasing the layers between the light and the shadows.

You can control the amount of information like this.

The more the light spreads out,

the more it sticks out.

Let's look at the difference

when we just apply lighting to the skin.

Before.

And after.

You can see that our gaze goes towards

the area in the middle.

So, we can give characters lighting

by using Soft Light.

With a simple character,

or a character with a lot of skin exposure,

when you want to make it sexy,

you'll use Soft Light a lot.

So, let's summarize.

We learned lighting today.

When we apply lighting,

we need to know

three types of information.

First, the amount of information.

This information doesn't just apply to the coloring stage,

but applies to the drawing stage as well.

With what we've learned so far,

when you're coloring,

you need to set how much information you'd put in

when you apply lighting.

That's what today's lecture was about.

There are four ways to increase the amount of information.

Saturation, density, contrast, and hues.

You should be able to

use these elements to control

the amount of information in coloring.

The second thing I told you about

is the setting

of your lighting.

You should decide its angle and colors.

There are four things you need to think about.

The number, the color, the intensity, and the direction.

Set these four elements

so that you have the lighting

that suits your image.

Draw a table, and then continue.

We also learned the contrast between warm and cool colors.

In other words, the optical illusion.

The contrast can be divided into two scenarios.

The first scenario is when you emphasize both the colors.

The second scenario is when

only one color becomes the main color

because one of the colors

has a low saturation.

So, this would also be a type of emphasis.

When you do that,

I told you the usage for two different types.

Now, the important thing is,

if we have a yellow object,

because it reflects yellow light,

our eyes would perceive it as yellow.

So, if the object has blue lighting applied,

the saturation would decrease.

You should move on

after you keep that in mind.

What I told you on top of that

is what's really important.

I've additionally taught you Soft Light,

and Hard Light.

I told you these.

And, if I have to choose something

that I really want to emphasize

out of everything I told you here,

I want to emphasize the amount of information.

I didn't see a lot of people who thought of this in advance

before they actually started drawing.

So, with the amount of information,

when we compare drawing to cooking,

the recipe would be how we would compose the canvas.

What's most important?

It's the seasoning.

You have to determine whether it's

salty, tasty,

or just right.

So, this concept is

something very essential.

But there aren't many people

who are conscious of it when coloring.

So, if your character's design

is simple,

increase the lit parts and the shadowy parts

to increase the amount of information.

On the other hand,

if it looks too complicated,

make them focus on one side.

Then, either increase the amount

or decrease it.

Do one of them,

so that the character looks more clean.

That would be putting in less seasoning.

So, deciding whether you should add more or less information

when you're coloring

is the most important thing.

What we did today was an overall explanation of theories.

Now, we're going to use them

to actually draw.

From now on, we're going to start with

an illustration with a background.

In other words, a full illustration.

As you're doing it,

we're going to compose a thumbnail,

and apply the base colors.

While we're doing that,

we're going to use what we've learned,

and change the lighting

to change the overall mood.

So, let's utilize what we've learned so far.

This is the end of

today's lecture.

Keep up the great work.