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Hello.

Today, I'm going to show you the sketches I worked on before I worked on the portrait illustration.

With these two things,

I'm going to use different colors depending on the mood

and I'm also going to analyze how it's directed.

Using both sketches at the same time,

for a cute vibe.

The one on the right has a bigger scale.

I think using the one on the left

will be easier to show it as an example.

I brought both of them.

I'll describe the one on the right later.

I'm also going to complete it.

So, I drew the outlines and brought it.

Let's get started.

Compared to when I worked on the full illustration,

there are many similar principles that apply.

In the end, the principles used in painting,

it's the repetition of the same principles.

When you use cute elements,

you can make the main element closer to the sub elements.

Make the silhouette round

or place a lot of objects.

In the end, it's like this.

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Let's use it.

Let's make the one on the left cuter.

As expected of the concept, for the sharp bottom teeth,

it'd be nice to change them to make it look cuter.

It's closer to being bright than cute right now.

I'll get to it.

The facial expression, too.

It'd be nice if it gets brighter.

Previously, it was a triangular composition.

I used the inverted triangular composition.

With cute characters,

there's a lot of elements up on the top.

Their silhouettes are

close to an inverted triangular composition.

While maintaining that,

when we do illustrations for mobile games,

they need some fanciness.

You need something fancy to stimulate the desire to buy it.

I said to maintain the diamond silhouette.

And since the inverted triangle itself is less stable,

without ruining the stability,

it's all about placing things on the top.

I'm going to place things around.

It's one of the effective ways to focus objects on the top.

The size of the objects like hats

can be made bigger.

If every single element in an illustration contains

big elements that are round and cute,

it's easier for the character to look cuter.

Small characters and big outfits.

They're used together a lot.

When young characters are in a game,

they're usually wearing a lot of big outfits,

to emphasize a cute mood.

That's how it works.

The silhouette will be

a little bit rounder than the original.

Let's change it.

If you're drawing a cute character,

if you do that, try your best and check

if all the silhouettes are round.

Even when you draw the hair,

make it a bit puffy.

Make it weighty somehow.

And to put a lot of elements on top,

it's okay to add something more.

I'll raise this line up.

Change the hand gesture.

Here.

Let's add one more tentacle.

When we were composing the previous portrait illustration,

between making the character calm and the background flashy,

and making the characters fancy and the background a bit calm,

when you're trying to create a more active character,

it would be better to make the character more active, right?

So, the character's posture itself

should be dynamic.

Then, the pose that looks like it's walking forward

is the foundation pose.

It's a very calm posture.

I don't know how I can give that sense of danger

How will I give

a bouncy atmosphere?

I'll think about it, too.

It's the same thing we learned before.

You have to bend the ends of

the flow of the gaze.

If you just remember

what I told you in class,

to express the feeling you want in the illustration,

it's not that hard.

But while drawing on the spot...

While you're drawing,

if you think this isn't that cute, so I'll add this kind of vibe...

The process of making that kind of decision itself can be difficult.

It's not something that's theoretically difficult.

Bend its waist a bit.

Lift one leg backwards.

The stronger the moves are,

the more the character will look active.

The reason why I used the example on my left is

the right one is big in scale.

Big and small scale.

If I have to choose between the two,

it's hard to choose the former one.

If it's too big, it'll look much too cool.

That's why I used the smaller one, but also,

the posture of the character

should be strong.

The one on the right is...

When it comes to that,

there are some limitations.

That's another reason why I used the one on the left.

It's just that there's a limit.

Raise this leg up like this.

I'll lift up one side like this.

Make it pose dynamically, or

you can do that, too.

Let's take an example with the left character.

To make its legs look more dynamic,

Let's cross them a little.

The character doesn't have to be on the floor all the time.

Like this.

Let's do it like it's floating in the air.

Open its mouth slightly.

Open the character's mouth wide,

to make the character as dynamic as possible.

This hand holding the weapon...

If it's drooping down,

it will make the character feel more calm.

So,

as expected, like what we did before,

I'll cross the gaze with the character

to give off a bouncy look.

The bottom is balanced,

But if there's too much balance,

it becomes an illustration

where the silhouette is triangular.

Be careful not to do that.

I'm going to control the description of the bottom.

Instead, I'm going to use the remaining information.

It'd be nice to fill in the top with different elements.

I think it'll be good to add some settings to the character.

This character has sharp teeth.

Most of the creatures around it are mouth-shaped,

so I can make them love food.

It's not that it's important to apply the setting itself.

With that setting,

it's important that you can put in cute items.

I used it when I drew the full illustration.

Like drawing takoyaki.

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And various snacks and foods.

Place them around.

Let's add as many elements as possible.

When I'm trying to make a cute character,

the drawing itself needs to be a bit chaotic

when you look at it.

It needs to feel a bit loud.

It's not that the character's

voice is loud.

It's that it looks noisy.

It needs to be like this.

Draw a gift box.

It's good to draw snacks that we eat often, too.

Or fast food,

like pizza

or chicken.

I'll place as many different elements as possible around the character.

But what you need to be careful of is,

so that it's not placed too evenly,

and when you place a lot of items with dot elements,

don't just place them on one side.

Placing it while touching the landscape

is more effective.

If you place objects repeatedly

around its back and front,

it creates a space near the character.

When configuring portrait illustration,

it's very important to show that space.

Since there aren't many elements

that can express a three-dimensional effect,

I couldn't show you the space around it.

So, I can't draw the background.

I can show it indirectly.

These objects become very important.

So, I think it's a good idea to have all these factors around it

in the space where this character is standing,

so that you can guess.

Let's continue to get the vibe right.

It's not good to add too many dot elements.

When you place it on a dot, line, or plane,

it's good if there's a balance between the dots, lines, and planes.

Since we added a lot of dot elements,

it'd be nice to include linear elements.

What would make the character look cute?

You can add ribbons.

If possible, you can see most of the items

are arranged in a warm color.

When I talk about the temperature of colors,

warm colors

are effective when

you want to show something cute.

It'll be effective when you want to make a warm feeling.

The overall color, too.

It's good to use a red tone like this.

If I add a bit of coloring,

portrait illustration has limited lighting, so

most of the time, I use the frontal light a lot.

I use a lot of frontal light

Or a side light.

There are times when I use Backlight,

but even when I use Backlight,

because there's a condition

that you need to see the character's design at a glance,

the light from the front is always strong.

If we don't light up the front and light up the back,

you can't see the character.

If that happens,

we need to feel the charm of this character

to want to buy it.

If you don't feel that charm anymore

the thing you want to emphasize won't be emphasized.

So when you make a portrait illustration,

no matter what, the lighting in the front should be strong.

In that situation, what we learned last time...

Soft Light, Hard Light,

it's okay to think about it.

There's a lot of information about the character.

If you want to give a serious look,

Soft Light is just right.

If there's not a lot of information about the character,

if you want to make it look more casual,

Hard Light would be better.

Then right now,

in the current situation where I want to give a cute vibe,

I think the best one is Hard Light.

As much as that, when you apply shadows,

if possible,

make it look

strong.

Do that.

There's a lot of information in view.

If it's already loud,

you can add less shadow.

Adjust the direction of the light.

But if what you drew is simple

you can adjust the direction of the light.

Give lighting with a lot of shadows

In other words, when there is a lot of information around,

I'm going to do it as close as possible to the light from the front.

But if the character looks a bit boring,

I'll try to apply as much light as I can on the side,

and from the top, so that there's a lot of shadow.

That's how you can adjust the information.

If the tentacles are long

and if it's a curved shape,

I don't think it's cute.

The silhouette that gives off a cute vibe

will be round silhouettes.

Think about children.

Most of kids' outfits look like that.

The kids themselves look like that, too.

Small and round.

Remember the shape and apply it.

So that it can look cute with party items.

Make it bite it in the mouth.

You can use that kind of composition, too.

Or if the character is wearing sunglasses...

The texture of the food...

You can use it freely.

It's one of the good things about creating a cute character.

I'm looking at it because it's fun.

Dot sunglasses that were very popular in the past.

Since there are a lot of elements around it,

the character

is emphasized quite well.

If you open its eyes wide, it will look cuter.

It's like a cartoon.

It's a good idea

to put a glittering effect.

It keeps increasing the cuteness of the illustration.

And one of the biggest advantages of this glitter effect is

it's very small.

Why is it good?

We're going to talk about particles.

If the particles in the picture are big,

Literally, it looks like the resolution is a bit low.

That's what happens.

It might look like I stopped drawing halfway.

Because of that, the drawing...

If it doesn't improve much,

it's good to pay attention to the particle size.

These glitters

act as a small particle

because the size itself is small.

If these go in,

it means that the quality of the picture looks higher.

This person paid more attention to coloring.

That's how it feels.

I actually rely a lot on glitter because of that.

Because with artists,

depending on the person,

I saw them fill in the details with glitter.

It's fake detail.

That's not real detail.

There are people who express that, too.

But whether it's real or fake, there's no harm in using it.

It's just that you shouldn't use it too much.

I'll use it according to the situation.

To strengthen the feeling that you want.

If the fake details sparkle,

what are the real details?

The fact that it's good to make these things into objects.

That was the theory.

For example, the small candy that I put in earlier.

Things like that.

With objects that have a three-dimensional effect,

it's better to add details.

That was the message.

But you don't have to stick to that.

It's good if there's a bit of a three-dimensionality to it.

Of course, there's an advantage.

You can see the space better.

You can see through it better.

That's one good thing about it.

It's not impossible because of the glitter.

I'll try to make it as yellow as possible.

I'm going to increase the warm colors

to add a warm feeling to the drawing.

Even the belts on this side...

It's good to make the flow as strong as possible.

With the hair,

it's good to make it blow in the wind.

If you do it like this,

compared to before,

if you compare it like this...

Before,

and after.

The mood is definitely a bit

warmer.

When I drew the full illustration of cute characters,

what was it about?

The picture needs to look shiny.

That means there should be a lot of highlights.

Because they're applied here, too.

So that a lot of highlights can go in,

let's set the coloring method.

If you keep adjusting it,

it's going to be a cute illustration.

But when you use different colors,

what if the balance doesn't match?

You could worry about it.

Do you remember

the contrast between warm and cool colors?

Now, you can use it here.

If one system has strong saturation,

and the other side has low saturation, it's fine.

In this case,

as the color of the reddish objects was strong,

so that the saturation of the blue objects doesn't get too high,

if you work on it while being careful,

even when you use a variety of colors like this,

when it comes to the balance,

I don't think it's going to be difficult.

One thing to keep in mind is,

if both colors have too high saturation,

your eyes will get sore.

Let's be careful not to do that.

It's a way to put in snacks that the character likes.

Let's say this illustration is like a second awakening in games.

It's a cute character,

but you want to emphasize it.

When I try to express a cute character,

it's better if it's small overall.

That's what I said.

It's not that I can't make them bigger at all.

I can raise it.

If you maintain the silhouette,

you can raise it.

For example, if you add something,

what other cute items are there?

What comes to my mind right now is

a European door

that's made of wood.

I want to give it a Christmas vibe.

Even if it's not Christmas,

since there's a wizard setting to the character,

you can add that kind of setting.

Like a gift-giving wizard.

Like a wizard who uses food magic.

Or it's a bit cranky,

so when the gift box opens, tentacles come out.

You can add that kind of setting.

Of course, like that, cute characters

or calm characters...

In portrait illustration,

the concept of the character itself

becomes very important.

Compared to the full illustration, there are fewer elements around it.

Anyhow,

there are a lot of restrictions.

It's about bringing out the charm of the character itself.

The charm of the character itself

becomes very important.

It's very important to make a charming setting.

Making that attractive setting

is up to you.

What kind of setting is attractive?

Let's see what's attractive.

It's based on preference.

I'll keep detailing the preferences

and refine it.

It's important that your preferences are...

I like everything.

If you don't have any preferences and if you're picky,

is there anything

you like more among them?

You need to keep getting to know yourself.

When students come to my class,

especially the beginner classes,

for those who are starting to work on the basics,

I hope you have the time to get to know your hobby.

I do give it as homework.

I encourage my students to find out about their hobbies.

The reason why I do that is

because those preferences

become your motivation.

And that motivation

will help you find out

how you should draw in the future.

Let's put all that aside for now.

I put a lot of things on the top.

There were a lot of things up above.

Compared to a simple character design,

to give a complex background...

The background is somewhat

detailed if you look at it.

It's about the distribution of density.

The characters in the front and the background

are separated.

The background is detailed

and the character in the front is simple.

I see this a lot everywhere.

It's like that in animation.

The characters only have two tones

and the background is very detailed.

Let's learn from the animation screen.

Make this similar.

Make the particles as small as possible for the elements in the back.

Decorate it in a cute way.

The character in the front should be colored in simply.

Depending on the situation,

it's okay to take out the light and shadow more.

The more things there are in the back, the more things fit in the background,

the more the color of the characters will decrease.

Simply put, there's no need to describe it.

Description isn't really the point in these illustrations.

Like this,

I changed

the first character to a cute vibe.

This time,

I'm going to change it to a calm vibe.

Let's use the same sketch.

To make it easier to see the difference, I'll place the right one too.

To make a calm character,

I tried to make it look like an inverted triangle.

Contrary to the first composition.

This one,

you need to focus a lot on the lower part.

And the character's tendencies

or the posture

and the overall silhouette,

they're going to sink a little bit.

You need it to feel that way.

Fortunately, the overall posture of the character...

To give a calm vibe,

it's not that bad.

That's why I wanted to make this look special.

Let's do some more.

First, the arm part that's up here,

let's erase it.

If you press the Delete button,

you can erase the selected part.

As much as you can play with the hair,

be calm with the silhouette.

The character's hair itself,

since it's a silhouette that sticks out from the outside,

it's not a good silhouette to give a calm look.

What I learned from the previous silhouette...

So...

For my character's personality, I have to give it to it.

I'll express it to a certain extent,

but as little as possible.

I won't describe much here,

so that you can't see it well.

Let's hide it.

To make the expression look calm,

I opened its eyes.

It emptied the top and bottom of the eyes.

Unlike the first configuration,

in the second, open its eyes only halfway.

The eyes

should have a full eye socket.

The silhouette of the hair, too,

make it droop a little bit.

I'll apply it little by little.

The uniformity is very important for these silhouettes.

The silhouette that I had in mind at first...

It's important to adjust it well until the end.

So if there are silhouettes that are the opposite,

please take care of it.

In your own drawing,

find the feeling that you want.

I'm going to adjust the silhouette.

If there are still drawings that you're working on,

stop and look at the picture again.

The silhouette that you want...

See if everything fits in.

I think it could be a bit sharper...

I think it'd be okay if it's a little more round...

Is there anything that bothers you?

Every time I grab them one by one...

What are the character's tendencies?

Depending on what you want,

it's can be a more reinforced concept.

The hat is droopy too.

Unlike the top part where we opened the mouth,

close its mouth as much as possible.

There's an element at the bottom.

I think I need to add something.

When I created a calm character,

I drew water.

You can use it as it is.

You can draw water on the floor

so that the characters look like they're reflected.

Or

this mint liquid

can be a bit prevalent on the floor.

Or the background,

it's like the ruins of a building.

Or use them all.

You make it according to the scale that you want.

I want something big.

This character is in its secondary awakening.

If I say so, I'll continue to do so.

This character needs to be patient

I'm going to draw the "Awakening" separately later.

If that's the case, I'll add a little bit here.

Maintain a triangle shape until the end.

Based on that,

we'll continue to draw.

As much as possible, I'll stretch out the bottom parts.

Let's add a calm vibe.

I think it'd be nice if the face was a bit droopy.

I'm lowering the head.

It might look a bit more calm.

If you spin it too much, it becomes dynamic.

So I don't do that.

The movement of the shoulders,

make it relaxed.

I'm touching it in as much detail as possible.

There's not much to the details.

I think it's better to pay attention to each of these things.

It's detail.

I used as many elements as possible

as opposed to the former example.

This time, the fewer elements the better.

Items that have the same amount of information as characters.

Let's take them out as much as possible

and put in other information.

I think it's better to create a picture where you can focus on your character.

When constructing a calm illustration,

that's the point.

It'd be nice to create some fog.

Among the brushes,

there are brushes that spread out.

You can use these to add fog.

Or you can Google it.

If you search for fog texture and a fog brush,

these days, it's really easy to find things like that.

When you set the mood of the character,

It'll be nice if you used them together.

When I put glitter in it,

I'm going to make it as small as possible.

To make it look cute,

unlike the ones that were big ones...

So that it looks natural while getting a bit smaller.

Let's make the flow of the glitter itself.

Depending on how you place them,

it can replace the feeling lines.

So,

it means that this can be a flow on its own.

I'll have to color it now.

In the character part,

according to the amount of information...

Something simple with coloring...

There aren't that many elements for the characters this time.

The background doesn't have many elements.

Compared to the ones at the top.

So,

I think it'll be okay if there's some shadow to it.

Then, rather than the objects in the front,

I'm saying that it'd be nice if the amount of light and shade could be increased.

But if the contrast is big,

the drawing itself comes to have a strong feeling, right?

It doesn't matter if you want to give it that feeling.

If I wanted to

give a subtle feeling,

I should make sure there isn't too much contrast.

You need to be careful about it.

So, remember that.

The bigger the contrast, the more intense the character is.

When you want to make it calmer,

let's also reduce the amount of contrast.

I'll reduce the contrast and increase the amount of light and shade.

I'll try to not apply it as much as possible.

The sparkly feeling is

a bit different from the calm vibe.

Like this.

To be honest, how do you use coloring?

I want to know about coloring.

How do you do coloring?

There are things like that.

Whether it's coloring or highlighting,

whether it's a description or something like that,

depending on the situation of the illustration,

I think that's how it becomes more fluid.

Let's see if your drawing needs highlights.

You have to know that before you go in.

But when coloring it, I always put the highlight here.

Adding highlights to the hair,

this is my unique style.

You can do it like this.

I might have to put it in like this.

But I don't know if that's necessary for the illustration.

Please think about it.

Coloring changes very fluidly.

Even if I don't try to put it in,

it feels like I'm using a brush.

With each brush touch,

your coloring methods will show up.

If you've seen some illustrations,

whatever you draw,

people recognize that you're the illustrator.

That's how much

your illustration is like a business card.

I think that's why it doesn't show our individuality.

You don't have to worry.

The painting that you're coloring right now,

if you need the highlights, you can put it in.

If you don't need it, you shouldn't put it in.

That's the best way to balance it.

Because

you don't have to insist on coloring.

The important thing is,

what's right for your drawing?

The ability to think.

I want to stress how important it is.

To put it the other way around,

it would be nice if I could use any coloring method.

It's also about talking.

I have to use it according to the situation.

Let's increase our 'weapons'.

I'm going to give lighting from the top.

When you do things like this,

if possible, it's better to draw a chart in your head

before you proceed.

Express the tertiary colors as well.

The top part of the tertiary colors...

If it goes into a red tone,

the lower part is...

It'd be nice if it went in a more bluish color.

As you increase the amount of shadow...

Increasing the amount of shadow

in this picture, the section that you can see with your eyes,

it's also narrowing it.

People's eyes basically chase bright things.

Lessening what people see,

it means that people concentrate more on the character.

There's nothing else to see.

So you'd focus on the character.

Of course, as much as that,

it'd be nice if you paid more attention to the character's description.

Compared to drawing a cute character,

when you draw a calm character like this,

you have to describe it a lot.

Even if there's no highlight,

I'm going to cut its hair into small pieces.

I'll continue to

add more, remove, and adjust the amount.

Subtracting is

harder than adding.

It's important to be good at subtracting things.

Think about whether something is really necessary.

If you don't think so,

take it out right away.

It's important to make bold decisions.

I'm saying it's important because

most of the time, it's hard to do that.

Because it took you so much time,

you might not want to subtract it.

It happens often when drawing.

You must have used your energy to draw that.

You did your best.

There are times when I wonder if I can just use it.

When you take it out,

I think it's better to leave it out.

It helps with illustrations.

It's important to make good decisions.

Even when you add effects,

in a calming way.

Put it in.

If you edit this part a bit,

it will feel like the light is spreading out from the middle.

It's like Soft Light.

I'll do that, and,

in the middle where the light is strong,

let's make sure that people are looking at it.

If you compare before and after putting it in...

Before,

and after.

You can definitely see that the viewer's eyes are tied to the middle

like this.

With a calm character,

I drew cute characters.

Let's adjust the top part.

It's a bit embarrassing to edit just the bottom part.

This is the same.

As I discussed with the previous full illustration,

it has a Fade-Out effect.

It's good to increase the concentration in the middle.

But if you use Soft Light,

there's already a lot of information in there.

In that situation, if Soft Light is applied,

from the perspective of the viewers,

It could be too heavy.

So that that doesn't happen,

you can make it

like this.

Even when I put light on it,

this bright light,

you can give apply it in a casual way.

And it's good to have a lot of glitter items.

With those,

it'd be nice to use the background objects.

Like a lantern.

There could be a lantern on the door,

or you can put a lantern on the floor.

It could be holding a lantern with its tentacles.

We can make a situation like that.

I'll choose this tentacle

and if it holds the sunglasses with this,

that could be fun, too.

Putting in a funny situation

is a great way to create a cute character.

So that it doesn't overpower the character,

be careful when you apply it.

Like this, today...

This one character.

Based on this character,

we gave it a cute vibe

and a calm vibe.

We made up

the mood of the illustration.

If given the chance,

I'd like to add a little more fog to this.

I'll color it in roughly like this.

Let's make a hole.

If you go to [Filter] - [Blur],

there are various kinds of Blur effects.

From among them,

what I'm going to apply is Gaussian Blur.

If you make it smudged like this,

you can create

quite a plausible fog.

Based on the same character,

I created the mood.

Compared to the previous full illustration,

the way you use it is similar.

So I made that up for today,

like so.

When you create a cute character,

add as many elements as you can.

Close to the inverted triangular composition.

Place a lot of elements on the top.

And at the same time,

put in a lot of highlights.

It's important to use them

to make it sparkly.

As expected, with the full illustration,

it's important to make a cute situation.

Regarding the character's setting,

you might need to adjust it little by little.

In that case, do it boldly.

And when you create a calm character, the opposite is true.

Add just a little bit of the surrounding elements

so that you can focus on the character.

Don't make the viewers pay attention to the surrounding elements,

so that they can focus on the character.

Don't forget to

maintain the triangular composition.

Add as many elements as you can on the bottom,

but make sure the character isn't overwhelmed.

Controlling the amount is the key.

And...

To fit the atmosphere of the character,

I'm going to use this kind of lighting.

The part where the light is strong,

the fact that you can focus more on it,

we need to focus our attention on the character.

In the middle of the character,

it's good if it has a strong impression.

It means that it's good to focus on the lighting here.

Even those things

need a little extra.

I think you can make an illustration like this.

Next time,

with this one,

we're going to make it look more aggressive.

Then, I'm going to work on

the one on the right.

Since there's no color roughing process

with our portrait illustration,

next time,

we're going to do the color roughing for the character.

Let's do the color roughing.

I'm going to try colors that suit the mood.

Let's also

do the description.

I think that's all for today.

Thank you for your hard work.