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Hello.

Today is our 2nd bonus chapter.

We will go through the thumbnail part.

In the 1st bonus chapter,

we went through the basics in detail

which we didn't handle in the basics lesson.

Today, we're going to talk more about thumbnails.

It's the extension of the full illustration thumbnail

from the previous class.

The reason why we're going through this is,

as we go through the thumbnail,

in the end, we're going to compose the screen.

But the problem is the screen composition.

There are a lot of cases for the composition.

All illustrations are cases of composition.

There are hundreds of thousands of cases.

I couldn't go through the hundreds of thousands of

screen composition cases in the previous class,

I couldn't show you everything all at once.

Therefore, to show you as many cases as possible,

we're going to have some thumbnail time today.

On the left, there are a few characters that I designed before.

By using some of them,

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we'll compose the screen with these.

Depending on the emphasis,

and the point we want to show,

let's choose one.

Let's start with a cute character.

How should the shepherd character on the left

be organized on a screen?

I'm going to approach it from an artist's perspective,

one who is drawing fan art for this character.

This character is like a shepherd.

Since there are casual-looking sheep around,

it'd be nice to show the two sheep together.

By showing them together,

it'd be good to express the cuteness of this character.

When I express the cute parts,

I tend to express it at a high rather than a low angle.

The character itself has a big scale.

Instead of a horizontally long screen,

I think it's going to be a small screen

that highlights the character's charms.

I think a vertically long screen would be better.

Like this one.

Let's make it wider horizontally.

The narrower it is, the more pressure it has on the screen.

It's good to have more concentration.

But your drawing can become more serious.

If the screen is vertically long,

of course, it works on the horizontally long screen as well.

If it's too wide, it'll look too serious.

So to prevent it, I made it wide overall,

to make the foundation look cute.

And I'm going to add the character.

I think a high angle would be better.

With a high angle,

we could design the character to hug this sheep here.

I think that'd be appropriate

to show the cuteness

of the character.

The overall flow of the gaze,

I'll arrange it so that it goes around like this.

If you put it down in a calm position,

as expected, the overall image

changes to a calm mood.

Using this character's entire body line,

I'm going to turn the gaze a little bit.

Basically, people's gaze,

moves from the top left to the bottom right.

According to the direction of the gaze,

if we arrange the character together,

it makes the gaze move faster.

When it comes to dynamic composition,

it's a very helpful composition.

But this time,

I don't want to show the character dynamically.

So it'd flow from the top right

to the bottom left.

We're going to proceed, using that perspective,

just like the thumbnail class.

Rather than going through the 2nd sketch,

we will do the first round in more detail,

to take a look at the examples of various cases.

I think this thumbnail part is the most important in illustrations.

That is, the screen composition part.

For people who practice it,

if possible, try it every time you design your character.

Or fan art is fine as well.

Practice a lot with fan art.

Let's increase the number of cases.

And if possible,

when you're doing it for the first time,

there's not much data in your head,

so it's hard to do it right away.

So, these people need to go ahead and look at references.

It will be a bit annoying

to look at references whenever you're drawing.

So, you need to increase your database in your head.

In the end, when you learn how to draw,

you can't create information that's not there.

So, you have to create more information.

To do that, while practicing drawing,

the two processes that you have to go through are...

First, inserting new information in your head,

and second,

utilizing the new information.

So, these are the two steps.

It's similar to the conceptualization part and the actual drawing part.

These processes would be how we study drawing.

So at first,

for those who are practicing composition for the first time,

you should look at the materials that you can refer to,

and try practicing a few times.

And if you've done that before,

if you've practiced before,

approach it as if you're practicing the creation process.

I think it'd be good to set many examples in your head.

I think it'll be pretty if the character's eyes are smiling.

So, I'll make its eyes smile.

I'll make the face as small as possible

and the head bigger.

That way, the character will be younger.

When expressing a cute character,

I told you that it's good to make the eyebrows go high.

Since the shoulder goes out forward,

don't forget to move the shoulder bones.

There's the main element here.

So, it'll be good to place the sub-elements close.

I want it to look cute.

If it's a calm character, make the sub-elements go far away.

If it's a cute character, place the sub-elements closer.

That's what we learned before.

Place it close and make it as big as possible.

Let's add some cuteness to the drawing.

The outfit isn't too open either, and I'll place it as high as possible.

It's important to make the canvas look full.

If the canvas looks empty, it'll make you feel calm.

So, let's create a canvas that looks full.

I'm not going to put in a lot of creases.

The more creases there are, the more detailed the illustration looks.

That's good, but detailed illustrations

look a bit serious.

It's slightly different from the cute vibe I want to put in right now.

So I'm going to decrease the creases for now.

I'll make it pet the sheep.

I'll add another sheep at the bottom, too.

Let's make the canvas look full.

I'll draw animal feet here to make it look cute.

I'll make the hair look fluffy.

Because this character is designed off of sheep,

let's make it look fluffy.

If you want to show the sexiness of this character

and if you want to show how beautiful its body is,

show the leg that comes forward like this.

I'll need to give up on the hand gesture,

but I can show the stockings around the thighs

to show you the charm of the character.

To show the leg more,

I'll pull the character up to the right.

I'll pull it towards the top right,

and I can show the details by showing its leg more.

You can adjust these depending on

what kind of canvas you want to show.

In the end, that's what composition is all about.

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Depending on what you want to express,

the composition changes drastically.

It's important to think about it well.

It's important to think about it clearly.

It's essential, actually.

If you don't know what you want to show,

it actually shouldn't be like that.

You should divide what you want to show

into the main and sub elements.

You could go a bit further

and divide them into main, sub and extra elements.

You should do that.

You need to choose the thing you want to emphasize the most.

Then, you'd choose what sub-elements want to emphasize after that.

And then the extra elements.

Usually, when we have these three spices,

your final dish will be charming and tasty.

It's kind of like that.

If you can taste

the sweetness and the spiciness,

you can then add a bit of savory taste.

When we have all those flavors together,

you'll think that the dish is tasty.

So, I composed the first illustration like this.

Let's try something else.

Who else would be good?

Let's try this bat character here.

I'll make a composition with this one.

This character has a calm impression.

Since there's a lot of skin exposure,

I think it's possible to make it look sexy.

I think a vertically tall canvas is better than

a horizontally wide canvas

to show this character's chic aspects

and its sexy impressions.

Of course, if you want to create a serious mood,

I think a horizontal canvas would be good, too.

This time, let's emphasize the sexy atmosphere.

A chic and sexy mood.

To bring that to life, the overall flow of the gaze

won't be in a curved line like this,

but will instead be in a straight line like this.

But if you make the gaze go like this,

the illustration might look a bit bland.

One of the most effective ways to do it

is to make this gaze line tilted a bit.

The gaze flow would go like this.

To compose it like that,

let's see how it would be arranged.

This composition is used quite often

in trading card game illustrations.

When the character itself looks bland,

and if you want to make the entire illustration look fancy,

you might tilt it like this.

Let's remember that.

But I won't tilt it too much

since I'm going to give it a chic look.

If you're not going for a chic impression,

but if you're only going for a cute vibe,

it would be better to tilt it a lot.

I'm going to use a low angle.

I'll make the character look like it's far away.

Unlike what I did for the cute character,

I'll make it look a bit loose.

I'll relax the shoulders, too.

It's tilted too much.

I'll turn it around a bit more.

Change the angle

depending on how much

you want it to look loose.

Since it's a casual-style character, I'll make the face bigger.

Let's add some details.

I want to show its body rather than its face.

So instead of making a strong expression on its face,

I'm going to make the face look calm.

The character looks girly,

so I didn't lower its eyebrows that much.

If I wanted to give it a mature look,

I would have lowered its eyebrows.

When you make the eyes smaller,

don't forget to reduce the face size.

If the eyes are small

while the face itself is wide,

the face would look really flat.

I'll adjust the face shape.

I'll lower its eyes a little bit.

I'm going to make the hair fly as well.

Usually, when we draw in an animal's ears,

out of the front hair parts, side hair parts, and the back hair parts

that we divided before,

they go into the back of the side hair parts.

If it goes between the side hair and back hair,

you can draw them easily.

If you look at it now, you can see that

I made the face a bit smaller than the one on the left.

The reason was that

I wanted to draw attention to the body

and because I want to make the character look more mature.

The character itself has a young physique,

so to make the character look mature,

I purposely made the face smaller.

So, a Deformer would become different depending on the situation.

Deformers change fluidly,

depending on the situation

you want to express.

Don't take it too hard.

You can adjust it according to the mood you want to express.

I'm going to keep my character's body calm.

But I'm going to make it look fancy at the same time.

How should we approach that?

We can make the character itself look calm,

but decorate the surrounding elements.

This character has wings.

If the illustration includes a close-range view and a distant view,

the illustration looks more spacey.

When it comes to expressing those kinds of things,

these wings are going to be an effective method.

I'll make the wings

go forward

and draw it like this.

Let's make sure that it composes a close-range view of the canvas.

I'll also make the hair fly around.

So, there's a calm character and flying elements around it.

In these two things,

I'll place it,

to make the character look fancy.

When you make a thumbnail,

I sometimes make up to six when I draw one character.

The reason why I draw so much is

in the end, to find the one that I like.

If I get one I like,

I will be satisfied.

Besides that,

it's just because it's fun.

When you first start making thumbnails,

you may get scared.

If you start to get used to it after a few times,

actually, it fits the screen composition,

and the act of drawing,

So it's the most appropriate behavior.

It gets more and more fun.

From that point on, when you just compose the screen,

you'll have a lot of fun.

So keep working on it to reach that level as soon as possible.

After you get there quickly,

I hope you continue to train,

by repeating the screen composition.

Like the wing on this side,

take out the wing on the other side of your arm like this arm.

So I'm going to take one wing out to the back of the screen,

and place the other one in front of the screen.

If you look at the overall flow,

you could see it flows like that.

But with this flow only, the picture might look a bit cliché.

It'd be nice to add something that's a bit against that flow.

There are red thorns around this character, right?

By using them,

by adding the ones that are against the flow,

let's make elements where we can afix the gaze.

These are point elements.

By thinking about points, lines, and planes,

if you compose the screen freely,

it'd be calm overall,

but with a sexy and strong impression added to it.

You can see that kind of screen.

It's not good if it's too wide vertically.

Let's find a character that we can use in the horizontal widescreen.

In a horizontal wide screen,

you can add any character if you want to,

but the characters with a more serious vibe

would be more effective

when you use horizontal wide.

Let's use the character on the top left.

This character has a big silhouette,

and a tentacle in the back.

So we can use this octopus tentacle

to use the screen like a linear element.

In a way,

the concept might overlap with the character we used before.

The previous character was set in a deep-sea setting,

but this one is based on Cthulu.

The one on the left has a tentacle,

so you can't help but look at it.

So, it's a fun topic when it comes to composition.

Our gaze moves from left to right,

so I'll place the character to the left,

and using that monster's hand,

the big hand,

I'm going to make the gaze move to the right.

I'll apply a high angle

to give it a loose personality.

It also looks a bit sexy.

So, instead of giving it big movements,

I'm going to make it sit down.

I think it'd be nice to make it look voluptuous.

And if the overall silhouette of the character is set,

you can edit the rest of the gaze flow

using those tentacles,

using the linear elements.

So, let's arrange it.

I turned its head to the right.

It's to express its gaze.

The angle is a bit tilted.

So, we can say that a low angle is applied to the character.

If you do it like this,

the gaze will be more spread out.

So there are the low, mid, and high angles applied.

As the gaze is focused on the face,

the main element that you show will be the face area.

Since there are elements like monster arms,

it's not easy to focus on one thing,

so I did this

to make the viewer's gaze focus on the face.

For casual characters, the face is important.

Since the face is important,

artists tend to make a composition

where the character's face is the focus.

I'll try to make it so that you can't see the face well later.

As it has a sexy impression overall,

I'll make the eyebrows closer than I previously designed.

So, let's compose the screen.

I'll make the character's hair blow in the air a bit.

I'll also split it into small pieces.

So, I can add a sexy vibe.

The less you split the hair, the cuter it becomes.

The more you split it, the more sexy or serious it becomes.

Remember that.

In this case, it's good to cover one eye of the character.

The character's eyes

are where the deformers are applied the most.

So, the more you reveal them,

the more it becomes casual.

To put it the other way around,

when the eyes are covered,

or when the eyes look realistic,

the more you do that, because of the eye shape,

it reduces the total amount of deformers.

In other words, it becomes

a more realistic style.

That means when you give it a sexy vibe like now,

it has some influence.

It's better to cover one eye like this

when you add a sexy mood to your character.

As the design highlights the breasts,

I'm going to make them stand out more.

I'll draw a monster's arm at the bottom.

I'll make the body area sit down, too.

It makes you feel like it's sitting on the floor.

Especially if there are long parts like hair,

by letting them fall on the floor,

you can show the perspective applied to the floor.

Even though I drew the character at a high angle,

it doesn't look like a high angle.

The character can float in the air

and if it's posing in the air,

I can't tell if it's a low or high angle.

Then, to show that this character has a high angle

and to make you feel like it's sitting on the floor,

it's most effective to show the floor.

So, you can show that

a character is in a certain background

by changing the perspective of the objects

so that they match the perspective of the floor.

So, you'll put in elements

that show the character's background indirectly.

You can use things like a lamp.

It's important to apply perspective to them.

So, if you use a wide-angle perspective like this,

I think it'll be the most effective

to show the character's space.

Because it has a strong impression,

instead of using a linear perspective,

I'll apply a wide-angle perspective or a convex lens perspective.

Using this kind of perspective

will make it easier to compose the canvas.

It happens to be close to the viewer, too.

I told you previously that it helps a lot when setting the space

if objects from a close-range view and a distant view are added together.

For this hand, I'll stretch it out a little bit.

Using this hand,

I'm going to draw the viewer's attention to the character

since this finger can look like an arrow.

I'll use this

to keep drawing attention.

With the other side here,

you have to spread the gaze out.

Remember that the gaze flows this way?

If you put this in while the gaze flows,

the drawing might look a bit stuffy.

All gazes go inwards, right?

It's okay to spread one out.

Then with the hands-on this side

we can make the fingers face outwards.

Like this, we can think of the gaze.

Think of how the viewer's gaze would flow.

On this side, raise a finger like this

to give off a strong vibe.

At the same time, as an element that draws attention to the character's face,

split the hair as small as possible.

To make this hair look more realistic,

it's okay to give connections between the things around it.

Like this, the hair could go on the fingernails,

or make the hair hang on

the objects around it.

If you do this,

the hair will look much more natural

on our head.

It looks like that from the viewer's perspective.

Using these tentacles,

you can add them to the overall gaze.

Even the perspective of the floor

can be shown indirectly.

If it's a wide canvas,

you'll be able to see that the overall space widens

compared to the two illustrations

that I drew before.

So, I think it's better

to use a wide canvas than a tall one

to add a strong feeling

like a serious mood

or a grandiose mood.

It would be more appropriate.

So, now I have an illustration with a wide canvas.

Even a voluptuous atmosphere

has a serious vibe.

So, it would work better if the hair was divided into small parts.

So, among mature characters,

I'm sure you've seen characters like this before.

You might have seen characters with bangs.

This kind of character eventually

covers their face, which has a lot of deformers applied to it.

And, its thin hair

makes the hair dimensions smaller.

So, it will look mature.

Understand it that way.

I'll continue to compose the canvas like this.

Now, let's practice placing multiple characters.

Let's use these.

Using these two Egyptian characters,

let's review how to compose multiple characters.

When we have multiple characters,

there's already a lot of information.

It's because we already have a lot of characters.

So, it's good to think at this point

whether you want a tall canvas or a wide canvas.

If you want to show two elements

in a relaxed way,

a wide canvas would be perfect.

If you want to make the screen look full,

by using two elements,

a tall canvas would be better.

This time, I'll make a wide canvas.

Since I made two illustrations with a tall canvas,

if it's too long on one side,

it could look too formal.

So I'll make it vertically taller a bit.

Setting the canvas size would be included in the composition stage.

Never forget that when you create an illustration,

you're not composing the character itself,

but rather composing the canvas itself.

And overall, what kind of mood will it give?

Let's think about it.

When I designed

these two characters,

I wanted this one to look like an escort,

while this one on the top

would look like a princess.

The guys on both sides are escorts

and the one on the top,

she's like a tomboy princess.

To show their characteristics,

what kind of concept would fit them?

Let's think about it.

Let's say we're placing three characters inside,

including the Anubis character in the back.

While organizing it like that,

let's make a wide canvas

to show off each character's personality.

I think it'd be good to

show a character who is running wild

while the other two characters are watching calmly.

The overall mood is,

since there are three characters,

I don't want it to feel too chaotic.

So in this illustration,

I'm going to use the triangular composition

to give it a calm impression.

I talked about various silhouettes

such as the triangle, the diamond, and the 8-shaped composition.

And they're being used here, too.

The character impression changes

depending on whether there are a lot of elements

at the top or the bottom.

That's what you should think about

when you're composing the canvas.

I'm going to use a low angle.

The reason why I use a low angle is

because it is appropriate to

contain a large area.

If you apply a middle angle, it will feel too flat.

So, if it is an illustration with a large space,

it'd be nice to approach it with a low angle.

But that doesn't mean

the perspective will look extremely awkward.

If you place it in an awkward angle,

there will be more information,

and the illustration will become complicated.

I said I'd make it look calm, remember.

So, as I work, I'll be aware of that.

So, let's begin.

The overall situation is,

the character on the left...

let's have the character in the middle

lay down on its legs.

The character in the middle is lying down like this

and it's lifting its legs up like this.

It's kind of joking around

and to show its unique sleeves,

I'll lift its arms up.

Then, I can show the sleeves that droop inwards.

Behind this character, I'll place the halo to its left.

But,

you have to think about whether to place the halo or not.

From the moment the halo goes in,

it becomes an 8-shaped composition, and the illustration will look more sacred.

Then the character on the left will draw attention

because people's gaze will head towards there.

But if it bothers you too much,

it might be better to take this out.

Because the most critical part that I want to show you is

all of these characters,

so this is the part that needs to be seen.

The central part.

Not the top left, but the center,

so the ring on this side may distract it.

You can take it out so that you can't see it well,

or you can change the color,

or you can just take it out.

You'll have to set it up depending on the situation.

The Anubis character in the back,

if you place it in a specific part, it looks more detailed.

Compared to the ones in front,

since it's so detailed,

it could stand out more than the main element.

That's why this character has the backside,

and move the distance back,

to make some distance between the two characters in the front.

We can do it in a distant view.

Whenever I compose the thumbnail,

rather than adding details,

just to get the overall mood,

using the background

indirectly creates silhouettes that surround the character.

Let's draw the 2nd sketch for this one.

Since the first sketch wasn't in detail,

you have to fix the glitches a lot in the 2nd sketch.

The more complicated the information it has is,

the more the level of difficulty tends to go up.

At times like that,

we need to spend more time on the 1st sketch.

In this case, since it's a demonstration,

I need to just show it quickly.

That's why I didn't put much effort into it.

But if you have to draw a complicated character,

from your own standard,

spend more time on the 1st sketch.

At that point,

fix a lot of glitches before you move on.

In a way, you can think of it as making a 1.5 sketch.

If it's hard to sketch, divide it into the levels.

To show off its youthful body,

I added something fun.

If you look at the body part of the character on the left...

If you look at the creases,

the creases that go up and down

are placed all over.

The fact that there are vertical creases rather than horizontal ones

means that the outfit is very loose.

This loose outfit

gives the character a more youthful vibe.

If this outfit

has a lot of horizontal creases and is tight,

the character would look much less young.

On the other hand, it would have a sexy vibe.

But create vertical creases around it

and the character will naturally look younger.

Depending on the direction of the viewer's gaze,

the impression always changes.

There are so many things you can use

such as the creases on clothes and the clothing's design.

In the end, the key point is the gaze.

So that it looks like the arms are leaning back,

I'm going to tilt them towards the outside.

You need to draw the characters in the back, too.

As we drew multiple characters,

each character's face

can become the main element.

If we say the part where the attention is focused

is the center,

it's also a good idea to use the direction of the characters' gaze.

If the character

looks at the bottom,

even when people naturally look at the face on the left

their gaze would head to the bottom right naturally.

So when it comes to facial expressions,

you can connect the gazes

by setting what direction the characters are looking towards.

Since a low angle is applied to the chest,

I'm going to draw the outlines while thinking of that.

If the metal part of the hand

is too revealing, it can stand out.

You can make the character hold the arm of the character in front of it.

So, let's give them a basic situation and show them little by little.

I'll make the hair droop

to make the triangular silhouette

a bit more evident.

I'm going to draw the Anubis character in the back.

So, you can now compose a canvas

with multiple characters in it.

When placing multiple characters,

it's important to place the bodies so that

the gaze would be connected.

Then, you can show a conflict

or an overlapping composition.

This picture will be overlapped in some way.

So...

The gazes should be placed

so that they are connected naturally.

That way, from the perspective of the viewer,

as much the gaze flows smoothly,

the overall mood of the illustration

would flow smoothly.

So the illustration wouldn't be messy.

If it doesn't work out well, our eyes will be distracted

and the whole illustration will look noisy.

It will be so complicated

that viewers won't be able to concentrate well.

It's essential to make these kinds of gazes focused.

It'd be nice if there were elements in the close-range view.

Like this, maybe add some food in it,

or you can add fruits like grapes.

Depending on the color,

the background is also an element that attracts the attention of the character,

so that each ** can be connected flexibly.

By processing it like that,

we can compose a screen with multiple numbers.

When we compose the screen,

it's important to look at what you learned before,

but what I care about the most in the illustration is,

what I want to emphasize the most to the students is,

in the end, for the current illustration,

what you wanted to show.

And after that, you need to make sure,

whether you achieved what you intended by doing self-feedback.

The first character on the left has a cute mood,

with a bit of the fluffy feeling.

Did you get the feeling of wool?

Since it doesn't feel like wool,

you can add a fleece vibe to this,

or, since this shoulder is far away, it looks calm,

so to make the character look cuter,

what if we tighten this shoulder like this

to make it closer to the character?

I added some cuteness.

It works the same for this hand.

By placing the surrounding elements as close as possible,

you can add to the cuteness of the character.

This one does have a calm vibe,

but the overall balance of the screen might not have been right.

I'm going to flip it over once.

Since the dark areas are only focused on the upper left,

it looks a bit unstable.

To get rid of this feeling,

I'm going to change the shape of the wing on this side,

to make it flow outwards like this,

to balance the screen.

After you do this,

I hope you do some self-feedback like this.

Usually, the screen being arranged

in a pretty way is very ideal,

but many times, it doesn't work.

So, it's okay, even if that occurs many times.

You can check it twice or three times

through self-feedback in the middle of the process.

At that point, by giving yourself feedback,

you should keep thinking about

whether drawing it at a different angle

would be prettier

or whether it would be better to twist the characters around.

Then, the canvas could look better.

By repeating that process

you should be aware of the composition of the canvas

by continuously doing it.

So that your muscle memory

would keep improving.

Please change your perception.

If you are still thinking about

the character's pose,

if you're doing that,

leave it for the future.

You have to think about the poses later on.

The first thing that's important is

how you're going to express the character,

and whether the screen itself has a lot of things placed on the bottom

or the top of the screen,

you have to think about these things first.

The poses come after that.

We're done here for today.

This is the end of today's bonus chapter.

I hope you enjoyed it.

Thank you for your attention.