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Hello.

Continuing on from last time,

using the second illustration,

we'll work on a fancy and aggressive illustration.

Let's get started.

Before that, let's do the color roughing.

I'll show you parts that are good to pay attention to when coloring

that I didn't show you with the full illustration.

Let's talk about that.

Let's move on.

I'm telling you this,

but the theories that we use as a result are ones

that I've already shown you.

You're going to use them over and over again.

There's another example here.

Let's move on to this one.

Before we start,

what kind of light will I give it?

It's important to think about that first.

But as I said before,

for portrait illustrations, the lighting method

has many restrictions.

Today, I'm going to show you the frontal light.

I'll use it.

The coloring method is Hard Light, and Soft Light.

It depends on the type of light.

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I'm going to add some Soft Light to this illustration.

It gives a three-dimensional effect to the tentacles in the back.

I don't think only using Hard Light is enough.

If this section goes like this,

you don't get the unique roundness of the tentacles.

To make the tentacles look round,

it needs to spread smoothly.

It's going to have Soft Light to a certain extent.

I'll increase the intensity of the light.

I'll reduce the amount of shadow.

I'm going to do that.

When you add light and shadow,

there are people who use Normal Layers.

I'm sure there are people who apply Multiply Layers.

If it's so hard to color each part,

if it's so hard to paint different colors for each part,

apply the Multiply Layer first

and edit the color later.

I want the color that I want to be applied.

I recommend that you apply the Normal Layer.

I usually use the Normal Layer more.

Even if it's annoying,

if you want the color to be applied here and there,

you should use the basic framework.

The order of light and shadows is different for each person.

The way I recommend it is

doing everything as a whole.

You have to go through the most important factors first.

First of all,

you should know the overall flow.

That's what I'm focusing on.

Let's get into it.

When I first applied light and shadow,

if possible, turn off the pressure with Hard Brush.

I recommend it.

But while I was applying the light and shadows,

if you're worried that it's hard to get the atmosphere right,

to those people,

I want to recommend this method.

We're going to set the overall mood in advance.

I said I'm going to use Soft Light.

I'm going to do that in advance.

Let's find out about shadows.

When we color it, we give some shadow.

There's the Cast Shadow,

the Form Shadow.

There are two types.

If I add one more, it's Occlusion Shadow.

Among Cast Shadows and Form Shadows,

usually, we work on Cast Shadows first.

If the contrast of the picture gets too big,

I told you that I can block it with this.

But today, I'm going to change that a little bit.

I'm going to apply Form Shadow first.

If you do this, the pros and cons are clear.

The disadvantage is

if you make a mistake, the contrast could get bigger.

The picture might look like it's burning.

If you can't control it yourself well,

the good thing is that the way you color it

is pretty simplified.

I said that I would give this Form Shadow first,

but I'm just going to make sure the overall Form Shadow is there.

Form Shadow

doesn't go into everything.

The Form Shadow goes into the whole lump.

When you shine it on this whole lump,

the part that receives the most light,

it's probably the middle part that sticks out.

The parts that get less light

would be the tentacles in the back.

So, I'm going to apply Form Shadow.

You have to make it big at once like this.

I'm going to use the Multiply Layer.

I'm going to create the overall shadow first.

If this isn't enough,

create another layer, and this time, with the Screen Layer,

even the lack of light

in the middle, like this,

create it.

If you go through this process first,

it feels like the illustrations are tied together.

Before, and after.

It definitely feels like it's tied up.

So if you do this before you go in,

it'll be easier to work on it afterward.

It's hard to get the nuances when coloring.

No matter how hard you try to get the light and shadow correct,

if you think your drawing is too distracting,

I recommend that you start your first work with this.

If you do it, it's the same as before.

Let's continue to add the light and shadows.

I'll give a bluish color to the light.

The color of the shadow and the color of the background are blue.

The color of the shadow

should be a bit bluish.

Let's move on.

Use the Lasso Tool

to do your work more quickly.

There's no right answer for coloring.

Just make sure you're comfortable with it.

The important thing is that you follow the principles that are applied.

So, depending on your coloring method,

It's good to think about the pros and cons in advance.

Always, no matter what,

there's no method where there's only advantages.

If there are advantages, there will be disadvantages.

So, I'm going to show you how I'm coloring it.

This is the advantage of the way you paint, and this is the disadvantage.

I hope you decide that on your own before you go in.

Even if it doesn't come out well, even if you tried your best,

force yourself to do it.

That way, when you draw later on,

the part that you need to focus more on

that you designated as your weakness,

you can strengthen the advantages that you have.

In the end, it's the process of studying.

Like this, I don't have to do things that aren't set.

I tend to force myself to get into it.

What are the similar examples?

In literature class,

you might have seen examples like,

as soon as the character saw a purple flower and expressed her feelings,

this character likes purple.

And purple is the color of death.

So this character will die soon.

There was something like this.

When the writer was interviewed about it later on,

he said it wasn't anything like that.

He said he just liked azalea flowers.

What's important here is,

I'm not saying that the book was wrong in the first place.

While analyzing it,

that's how someone interpreted it.

But you have to interpret and analyze it.

And the process itself is studying

When I draw later, I'll increase the accuracy.

It applies to the drawing as it is.

When analyzing the references,

I think, that's why it's good.

I think, that's why it's not good

You can divide it up like that.

I think it's good to create this kind of atmosphere.

I'm going to keep clarifying those things and making them into words.

To make it into a sentence.

You keep increasing what you know.

It might not be right for now.

As you get older,

or you just as you're drawing,

those things can be flipped over and over again.

It doesn't matter.

Your drawing speed will be much faster that way.

When it comes to expanding your skills,

it comes out much faster.

The parts that go in wrong,

you can strengthen them later.

Under the assumption that light will continue to come out from the center,

I'll add some light and shadow.

The shadow that I'm applying right now.

Cast Shadow is the key point.

Of course, Form Shadow goes in from time to time.

Cast Shadow and...

When people see important Form Shadows being put together,

some call it a Core Shadow.

It's not a specific name.

It's the most important shadow in a simple illustration.

It's okay to understand it like that.

Even if it's a Form Shadow,

focus on the parts that you think will look darker.

I'll express it like this.

Let's keep working on the dimensional effects.

When we are working on a strong image,

what's important?

In fact, this powerful and colorful image,

when working on portrait illustration,

it's one of the most popular editing methods.

In order to stimulate people's desire to buy,

the illustration needs to be fancy.

So, you need to know how to make it fancy.

To be straightforward,

the silhouette needs to be evident

and the silhouette itself

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should be dense.

Even now, with the amount of tentacles,

you'll see that there's a lot.

The fact that there are many things placed like this,

it's not just because I wanted to draw tentacles.

It's annoying for me to draw tentacles, too.

But the reason why I put a lot of these is,

using the tentacles for the overall silhouette,

it's important that it is splitting.

So, the silhouette that's been split a lot

raises the quality of the drawing.

Let's move on.

Other than that, there's the silhouette itself.

You can see that the end of the fog has been torn a little bit.

I'll make it more detailed.

The size of the particles will get smaller.

We learned how to make particles smaller, right?

The smaller the particle size,

the higher the quality looks.

By continuing to use those alternately,

you can make your drawing more fancy.

The strong feeling there is...

it looks a little more obvious.

That's the situation.

When I was drawing a cute character,

we talked about contrast.

When I'm doing something that has a calm vibe,

it's better to give less contrast.

When you want to give a strong impression,

I think it's better to be more prepared.

I'll continue to use those.

And let's continue to work on this.

Whenever you work on the Cast Shadow

be careful when you put it in.

So that you don't forget anything.

I forget it often, too.

I focused on the big shadows.

And I'll continue to make the overall composition.

In this process, the drawing is almost complete.

So the brush touch goes in later,

but there are so many students

who always focus on the description.

Once again,

it's not the description that matters.

It's not about the description.

As long as it's well-organized,

and as long as you're prepared for that,

from the perspective of the viewers,

they will understand what you wanted to express.

You'll be able to grasp the character's charm.

And one of the charms of that

would be the brush touch.

It shows the artist's own touching up methods.

Of course, it's important.

It's not that it's not important at all.

But you shouldn't be too obsessed with that.

It's something that you can put in later.

It doesn't change that it's an additional factor.

Even if you don't put in touch,

if you just focus on the shadow area,

it can be used for actual illustrations.

It's not that you can't use it.

If you organize this neatly,

it could be used for in-game illustrations.

You'll be able to get that feeling.

So,

if you don't draw a lot,

and if the touch becomes too dirty when you're coloring,

even if you can't do the coloring in high quality,

if you do it like this,

you'll be able to get the feeling a bit more easily.

If you succeed that much, you'll do it by experience later on.

You'll continue to gain experience.

Make sure to strengthen the brush touch.

Then, you will draw your own high-quality illustrations.

Metal objects have a big contrast.

I'm going to give it some highlights.

Items that shine like this,

to make it look brighter,

the source part,

the wick of light should be close to white.

You need to raise the brightness.

The further you go from there, the more saturation you can get.

Even if the saturation goes up,

when you look at it in black and white, the tone gets darker.

First, raise the saturation.

Then, lower the brightness.

If you adjust the material of the item that shines,

you can express a bit more.

On the character's back,

to add a silhouette that looks a bit lacking,

I've arranged the effects.

To make this character look more intense,

I'll teach you how to compose it.

I'll make the shadow have a bluish tone.

I'm going to make it look less white.

To make this look stronger,

what should I do?

Should we focus on the bottom?

Or should we focus on the top?

I tend to focus a lot on the top.

It's the same as that.

So, as a result, like what we did in the beginning,

among the cute and calm characters,

it will look more like a cute character.

And it is also intense.

So, similar to the cute atmosphere,

to make an inverted triangular silhouette,

you need to add more elements to the top part.

Let's place them simply.

The fog that I put in here

will be focused on the top.

I said it's good to have a big contrast here.

So to make a big contrast,

I'm going to darken the edges.

Let's make the middle area brighter.

Or instead of making middle part go bright all at once,

I'll make it go darker like this.

And then it gets brighter.

It's good to use strong elements like this.

It will be very effective.

Like eyes

that are similar to Sauron's eye in 'The Lord of the Rings'.

I'll draw eyes.

They don't have to have a clear form.

They really don't.

I feel like I'm over there...

It's okay to just do that.

Using the Dodge Tool,

make it bright.

Add some effect particles around it.

You can use lightning or liquids

that we used before to give it a strong impression.

As the scale gets bigger,

there will be more elements.

But on the other hand, you can't see the character's design.

This is a flaw.

So usually, with the characters that have original designs...

the 2nd Awakening Illustration uses this kind of composition a lot.

These days, there are many illustrations with a background.

When that happens, like this,

the background of the silhouette of the character is created.

You can put in abandoned buildings or things like that.

To suit your character's overall personality,

give it a pointy look

to harmonize everything.

Whenever I work on portrait illustrations,

the background needs to be transparent.

It's important

to neatly finish off the outer line.

Otherwise, the background and the character will be mixed.

We can't predict how the background will go in.

Sometimes, when I do outsourcing work,

There are times when they ask me to work in a certain way

because the background of this character will go in like this.

But it doesn't happen often.

Most of the time, I don't know what's in the background.

I don't know what I should do.

So it's important to proceed

so that any background can go in.

When I work on my illustrations,

it's one of the reasons I put gray in the background.

Whether the background is bright or dark,

I'm going to do it so that it fits the character tone.

When the background suddenly gets bright like this,

only the character looks a bit awkward.

To reduce that,

there are many times when I do it with a gray background.

I'll apply lighting to the background.

Let's keep improving the quality.

Today, I'm going to focus on describing this character.

Other than that, how to describe each lighting...

We actually did it in the full illustration stage.

I can't give these as much lighting as them.

It's their characteristic.

So today, from there,

we'll focus on the description.

It'd be nice to add a bit of glitter.

I'm putting in the silhouette that comes up from the bottom.

The difference from the silhouette that goes down is

that you'll be able to look up a bit more.

With this illustration,

it's important to pull the viewer's gaze upwards.

I keep putting it in like this.

The highlights, too.

Let's arrange them in advance.

If you describe this tentacle too much,

it could be a bit gross.

So, I only described it simply.

If it's shiny, it's kind of weird to look at, right?

I'm going to add more elements.

So, let's get to it.

There are cracks in the characters on the floor, too.

It's okay to put that at the bottom, too.

Let's continue to compose like this.

In the eye socket of the character,

I'm going to add an element

that will draw people's attention.

At the bottom,

there's a tentacle.

There's an object that gives a strong impression.

We need some elements

that will draw attention to the upper area, too.

For these elements,

make the eyes sparkle

and make the middle part of the hat shine.

Like that,

for the lighting,

make sure the viewers focus on the face.

It'll be an effective way.

People always focus on

where there's

strong light.

Please remember it.

You have to use it.

If this is the end,

you can guess that the illustration is complete.

This is how you create a strong image.

I'll try to describe it a little more.

So that you can

see it strongly.

The feeling of light coming out of the mouth, too.

To make it clear,

make the bright part really bright.

Let's make sure to darken the dark areas.

That way, you'll be able to focus more on the areas where the light comes out.

For something to be sparkly,

it needs to be dark.

Remember that?

It needs to be dark around here.

So that the glittering parts stand out.

Remember that,

and let's make this area shine.

And using this fire,

I think you can use it as a linear element.

Make the effect cover around the character.

It's something that draws attention to the top.

And let's move on.

If you look at before and after putting it in,

when there's no description,

and when there is description,

if you look at it, it has a strong feeling.

So, you can concentrate towards the middle.

You'll be able to see it keep going up.

The lighting is blue,

and the character's skin color isn't that strong either.

When you add shadow, try to make it so that it almost has no saturation.

So that it doesn't feel like a natural skin color.

I'll give it to you.

Let's add this color, too.

A wick of light.

I think it's the most focused on

the middle section.

The light is a bit close to a turquoise color.

The further you go, the closer it'll be to a navy color.

It's a great way...

We need to talk about natural brightness.

Everything has its own brightness.

It's literal.

What is the proper brightness?

Even if I color pick a red one,

it comes out like this.

Even if you pick the top part of yellow,

it comes out like this.

If you look at this in black and white,

there's a difference in the brightness.

If it goes over to navy,

even though we took the same photo,

there's a huge difference in brightness.

There's a difference in the brightness of each color.

Use it.

It's better to use different colors for bright and dark parts.

It's very effective.

I'll blend in the hues.

The bright part is a turquoise color with high intrinsic brightness.

Dark areas have low intrinsic brightness.

If you put in the blue one,

the concept of brightening and darkening becomes more definite.

From a viewer's point of view,

it looks like it's well organized.

That's why for changing the hue,

it's not like this is an absolute rule.

If it's returned according to the proper brightness,

the picture becomes more stable.

So the closer you get to the source of the light,

you'd use a lot of turquoise colors.

As the light gets farther away,

if you mix navy or purple,

It's applied better with blue illustrations.

It's the same with the red illustrations.

For the red ones, use yellow and red.

That's enough.

If it gets worse, it'll go to purple.

Sometimes, when painting shadows,

there are people who color it darker

for the edge of the shadow.

Like this.

Of course, this

is a kind of lighting that can be applied.

Unless it's a strong lighting,

you don't get shadows like this.

And if you give shadows like this,

the edges stand out a lot.

So if it's a simple coloring method, it's okay to use that method,

and if you use it with a lot of description,

it could be a bit burdensome to look at.

So, whenever you put in a boundary color,

when you look at the tone, it's going to be in the middle.

Let's put it in while paying more attention to it.

If you do this much,

what do you think?

Do you think

it looks like a mobile game illustration?

To be honest,

when working on portrait illustrations,

that can be one of your own evaluation criteria.

What I've been working on right now,

I'm not sure if it's okay for me to put it into the game.

When you do yours,

if you think it wouldn't be that weird,

then that illustration is probably okay.

But if it's not enough,

then, we should focus more on the drawing.

So for those who are preparing portrait illustrations,

there are people who have a target game genre in mind.

If you don't have it, I want you to make it now.

You can make your own target genre.

Focus on those kind of drawings.

Even when we look at them side by side,

if you don't feel they're awkward,

then you can

already get a job somewhere.

But for those who want to practice,

you can narrow down the target like that.

In the end, later on,

no matter what game you're outsourcing for,

I hope you can have the right abilities for it.

I'll tell you one more time when I finish my class, but,

I hope students will ultimately

have a completely different style than they did before.

For example, for those who draw casual illustrations,

even if there's a realistic style illustration,

if I focus on practicing for 2 to 3 weeks,

you need to become a person who can express yourself to a certain extent.

That's what I want.

This is the ultimate goal of an illustrator.

In order for that to happen, the ability to analyze references is essential.

The ability to decide things is critical.

This is important when you draw realistically.

In my drawing, I should do it like this.

Such determination plays an important role.

So, continue to improve on those things.

If you become a person who can draw anything,

for me, I think that person

will be highly qualified as a professional.

Of course, it's important to draw well.

To make attractive pictures.

Being popular is important, of course,

but if you want to work as a professional,

I hope you think about it as well.

"I don't know if I'm a person who can cope with anything".

There are people like that sometimes.

If you're really good at drawing,

if you don't have many preferences,

or the content of the drawing itself is limited,

or a case in which you aren't outsourced often,

if that's the case,

you might think it was because you weren't good enough.

There are people who think like that, too.

It could be true,

but in most cases,

you can easily get hired,

more than you think.

You'll easily be hired more than you think.

But whether the person actually earns money or not,

luck also applies.

I don't know if that person can do various things.

It depends on that.

The characters that I draw often,

they don't always come out right.

A character that fits perfectly...

Say a company needs a male character.

If this person can draw a male character,

then they'll be hired.

But there are some people who are only good at drawing female characters.

I don't think it's good to hire them for that work.

So later, if you want to make money,

and if you want to be hired to work in different areas,

it's important to keep training yourself by drawing various things.

You'll be able to see that the overall frame is set.

When the frame is set,

let's take a different approach.

This time, really...

It's only rarely used.

Let's move away from the strong feeling.

We're going to do an illustration that gives sentimental vibes.

It's a sentimental illustration,

but there's nothing specific.

When it comes to sentimental illustrations,

they're usually in low saturated colors.

The part that shines is subtle,

that's the kind of illustration I use a lot.

Many illustrators from Taiwan

use those colors a lot.

So if you want to express

that kind of feeling,

what do you need?

It's a perfect method for this character.

This is because,

the design of this character is mostly white.

It's a monotone color.

I'm saying that there's not much color in the whole thing.

So, when you do that,

from this white color,

in the process of adding light and shadow,

how would you change the color of the light and shadow?

Depending on how you change the color,

the mood of the illustration changes drastically.

The layers that have light and shadow,

these layers,

back them up first.

Just by changing the color of these layers,

the feeling of the illustration changes a lot.

But this...

The color palettes in the back and the whole thing.

I'm going to reduce the saturation.

I'll reduce the saturation.

I'll balance it like this.

I'll create one Layer.

The layer I'm going to use this time is the Overlay Layer.

Like this.

I'll paint different colors here and there.

If it gets dark, I'll go straight to purple

Near the part where the light is coming from,

let's give it a blue hue.

Or depending on the situation,

if you want to curl this side up a bit, apply green colors.

First, make it colorful.

You can color it in a pretty way.

There's no strict rule.

But the usual condition of a sentimental illustration is

having a low saturation overall.

The point is to use a variety of hues.

Since it's lowly saturated and has low contrast...

The conditions needed to be the highlight of the previous drawing.

There were things like strong saturation or big contrast.

So, there's no saturation or contrast.

That means that the seasoning becomes bland, if we compare it to cooking.

Then that bland seasoning,

you need something else to cover it up with.

That's what makes it a hue.

So instead of reducing the contrast,

it's a case where you use a variety of hues.

There are a lot of coloring methods like that these days.

So the reason why border colors are used a lot...

In a way, it's relatively recent.

Recently, Taiwanese illustrations

and Chinese illustrations became more popular.

Among those who draw casual pictures,

I can see those styles a lot.

So even when you give it a border color,

use different hues.

It's one of my favorite coloring methods.

I'll increase the number of hues as much as I can.

The contrast will be decreased, too.

We'll do it like that.

As the contrast decreases,

the drawing itself makes it easier to see.

So when you want to give a strong impression,

it might not be appropriate.

The strong feeling,

it literally needs to be strong.

There should be a big contrast.

In this process, the contrast decreases automatically.

If you use a certain color,

it's inevitable that

it becomes less simple than the previous one.

If you look at it in person,

the first thing you look at at a glance is the former one.

But it gives off a subtle glow.

For those who like it,

you'll be able to get a good response.

So it's all about the situation.

This one needs to be more intense.

That's the way it should be.

If you say so, then make it more intense.

If you give up on the intensity,

you may want to make it sentimental.

It doesn't have to be strong.

Then make it so.

Illustrating is always like that.

According to what you want to express,

we do it little by little.

When you illustrate for the first time,

your route will change a lot in the middle.

You might not express it the way you want it.

When that happens, you can always give self-feedback.

Do some self-feedback.

This one is kind of...

It has a mix of two feelings.

This often happens a lot.

Someone who's good at doing cute things...

I wanted to draw something calm

but it came out as cute.

Or at first, there was a high contrast,

so you wanted to give a strong impression.

But after illustrating it, there was low contrast.

It wasn't as strong as you thought or...

You'll give yourself feedback like that a lot.

Whenever that happens, remember those things well.

And fix them later on.

Even though it's like this,

make it red all of a sudden.

I went over the navy color and gave it some light and shadow

and used a variety of hues.

Even if you change the color, when you see it in black and white,

as long as the tone is maintained well,

within coloring,

you can use hues quite freely.

That's why when there's a mint color bead,

even if I put orange on it,

it's smoother than you think.

When you look at it in black and white, the tone

will be stable.

If you want to make the beads look translucent,

this is okay, too.

I think this will break the dimensional effect.

I think it needs to be bright on the top and dark on the bottom.

Now break it on purpose

to make it look transparent.

To put it another way,

you can say that it's three-dimensional.

Transparent liquids don't have a three-dimensional effect.

So you have to make sure it doesn't look three-dimensional.

You can think of it as being more transparent.

So, the bottom part that's supposed to be dark

it's designed to be bright right now,

so that's why this bead looks more transparent.

It's the same when you color skin.

When you're coloring skin,

you may want to draw more transparent skin.

To do that,

please brighten up the areas that need to be dark.

There will be disadvantages to it.

What's the disadvantage?

You can't really see the light and shadow.

Then, it's hard to see the direction of the lighting.

Since there's no clear shadow,

the lighting won't come to life

as you intended.

That's true, but the clear feeling of the skin itself

looks pretty.

In an illustration where you want to show your character's skin with charm,

it's a method that is used very often.

If you look at it, rather than the lighting,

the transparent feeling of the skin itself...

You'll be able to see it well.

With Japanese coloring methods,

it's a method that's used a lot.

Even in this situation, you can keep changing the hues.

Let's get into it.

Since a lot of blue was used,

if you use a red color,

There's a high possibility that this part will be highlighted.

It stands out.

It's all blue.

If it's red, it will definitely stand out a lot.

So, focusing on the middle part that needs to stand out,

you're going to add a lot of red.

Just like I told you, whether it's

Taiwanese style, Japanese style,

or Korean style... in the end,

these are things that I decided on my own.

That's how you study.

Generally speaking,

it's not all like that.

The coloring method from Japan

feels a bit flat.

But the texture itself is pretty.

There are a lot of times when the texture is emphasized.

The Korean illustration has

many realistic descriptions.

The importance of description is high.

It's a characteristic of Korean illustrations.

So the description is very solid

and it looks stable.

The color itself looks a bit light

and the skin looks natural.

This doesn't happen often

in Taiwan,

which has low saturated illustrations.

The point is to use a variety of hues.

I use the tertiary colors very actively

for it to be

a sentimental illustration.

In China, red is used more.

While studying like that,

I divided them up based on how I feel.

Students, please

share what you've drawn

and think about it.

I'm going to change the hues.

If you continue like this,

compared to the previous one,

it will feel less intense.

With certainty and subtlety,

you'll be able to see that

this atmosphere can be used a lot.

So that you can see it better,

let's make a fuss in the background.

The bright part is mostly turquoise.

For the dark part, focus on purple.

It's the same here.

Be careful not to make the contrasts too high.

The contrast needs to be low.

You can see the subtle atmosphere.

In these soft parts...

When you make a calm illustration,

it'll be very effective.

So when I make a calm illustration,

hues like this

fit very well.

Use as little saturation as possible.

Don't forget that.

By pinpointing this,

I'm going to use it to fix the saturation of the important parts.

It's close to the concept of not using high saturation that much.

Make the background dense.

The characters can be simple.

It's the same here.

That way, the background and the character can be clearly distinguished.

Density distribution, regardless of the coloring method,

it's a theory that needs to be included.

Before, and after.

It's different to a certain extent,

but this is also charming.

That's how it's going to be made.

The effects on the outer boundaries...

I made it so that it fits the mood of the drawing.

It'd be nice to add a bit of low saturation.

On the edge,

let's take it out in purple.

If you make it like this,

you can see the mood being set.

Let's sort it out.

Let's summarize what we've done.

The character illustration.

Portrait illustration.

Same as a full illustration,

they have the same ways for directing things depending on the mood.

Nothing's that different.

Additionally, today,

I just told you how to make it sentimental.

I actually chose this word, too.

It's a Taiwanese coloring method.

I think it's okay to look at it like that.

It's a color scheme that you can see a lot these days.

I wanted to introduce this to you.

For those who like this,

use it while being conscious of it.

I think it'll be okay.

The important thing is to use low saturation.

Use a variety of colors to match the amount of information.

And when you change the color,

the area close to the light source is

the color that has a higher specific brightness.

The further away from the light source,

if you use a color with low specific brightness,

when you set the tones,

and when you put it in black and white,

it'll be more stable.

It will help you complete the illustration.

When you make an illustration with a strong impression,

the feeling of shining coming from the light source,

it's important to make sure the feeling is there.

And in order for the gaze to come to the center,

so that you don't look away,

block some of the areas.

That's also important.

This sharp silhouette

shows the character's aggressive tendencies/

By using some kind of firework...

Head from the bottom up

and draw attention above.

And so on...

If it's an illustration that looks like a triangle,

make the gaze go upwards.

This is the cute illustration that I did earlier.

It would have been the same way.

Compared to the calm illustration,

it became an illustration

that draws a lot of attention to the top.

Let's test how the gaze flows.

Let's take a look.

This illustration at the top is

the type you'll see the most frequently.

And then we'll look at the bottom.

When the background goes in from this composition,

you draw the character like this.

The direction of the gaze

and the posture of the character, too.

The basic gaze flow is to go to the bottom left.

I cut it off and went in.

Why would you do that?

I explained it before.

Cut the gaze flow from time to time.

And make the character have a stronger impression.

On the other hand, it was to increase the viewer's concentration.

The bottom part is the opposite.

The flow of the character's eyes,

and the overall flow,

it's very smooth.

It moves on smoothly.

It's like this.

The silhouette goes round at the bottom.

You'll see there's a lot focused at the bottom.

The character's hat and the silhouette...

There's nothing that sticks out.

You'll be able to see that it's settled calmly.

So, it gives a very different vibe

from the illustration at the top.

The illustration that I made today

uses silhouettes that stands out all over the top,

so that the gaze that went down

can go back up.

And I made it so that it spreads out.

What's the point of spreading it out here?

It makes the scale of the painting look bigger.

So we play mobile games.

When I draw an illustration like that,

there's a limit to the canvas size.

It can't stick out from the standard mobile screen size.

And we don't draw the background.

It can't stand out, so in the limitations of the composition,

that person is a little more...

When I see this character,

we need to make the silhouette look wider.

In other words, we use optical illusions.

If you put it in with an arrow, we go in that direction.

It draws the attention.

I'm going to use it to go outside.

It's an illustration that draws your attention.

It's like that.

I used a silhouette similar to this one

but the hues and silhouettes that rise above

will be shown less.

There's a lot of attention drawn to the bottom.

It's like that.

When I go into sentimental direction,

since it's good to make it calm,

as much as we did at the top,

I preferred not to give it a dynamic vibe.

So even in the process of organizing it,

for the items that are rising,

I didn't give any lighting to them.

I didn't highlight the thimble in the back.

Using those methods,

so that the gaze can be focused in the middle,

so that it can be calmer,

that's what you need to do.

The actual illustration...

If you look at this illustration,

the part that you see a lot,

you'll be able to see the height difference.

With portrait illustrations,

make an illustration that fits the mood you want to show.

So, the ability to compose

is very important.

Whenever you draw,

think about these things.

I hope you learn how to go into it while calculating things your head.

I worked on a portrait illustration today.

Full illustration, portrait illustration.

I worked on most of them.

I'm going to describe it next time,

but whatever the illustration may be,

you may have noticed that the basic framework is the same.

The basic framework is the same,

so whatever you work on,

you should understand the structure well

and apply it.

That's all for today.

Keep up the great work.