Original subtitles

Hello.

It's the illustrator Lino Tuna.

It's nice to have the opportunity to say hello to everyone at the Group Theory Institute.

First of all, let me briefly introduce me, starting from my student days, now I love drawing and painting, and then I studied animation in university.

I have worked on several painting jobs and now work as a character designer, designing characters in various projects.

Now re-depict the character as a joint work with various things.

In addition to this, there is my kind painting with color light, birds and dynamic drawings

Wrote the writing book and is now teaching the Art Selling Book 7 Drawing and Illustration class.

Long ago, under the pseudonym of Lino Tuna, I have been uploading my works to Es En Es for a long time.

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On art stations and Instagram.

Search the name Lino Tuna and you'll come to see the work I usually worked on.

This time, in the Colosso class, I prepared a lecture centered on what I learned about character design when I was an illustrator instructor.

Aside from simply drawing pretty characters, drawing

From the observation of my mind to the creation, I think there is a lot to learn

In this talk, I will discuss the overall process of character design, and the parts of my work that focus on

to explain your trick.

If the individual has a blank sheet of paper, fill it in with a scribble.

I've loved it since I was a kid, so it was natural for me to start getting interested in drawing my own characters.

So it seems that now that you have accumulated some know-how and knowledge, you can design more interesting and attractive characters.

That said, people who are interested in character design, and who have seen a lot of people who find it difficult because they don't know how to start

I wanted to share the fun of character design with you, so I prepared the lecture.

Character design is a very subjective and abstract beauty, but very free

You can shape your character in new ways, and that's just the charm of character design, I guess.

I'm actually a little bit shy, so greeting people on tape like this is actually a little bit awkward and shy, and

Even if it is not enough, I hope that in the future I will be able to follow well all the people I lecture and watch to work on painting happily.

Now, let me explain the career cuteness that we're going to learn in the future.

As I said earlier, in this Kolospeed lecture, the lecture will be centered on character design.

So, I first learn to draw coloring designs, and then I actually work

Intended to learn how the learning is used through further internships.

Now, we start by explaining what each section mainly discusses, in the drawing section

When I do the drawing, I will start by giving you what I think is the most important three-dimensional drawing.

So in order to use the basic analogy of the human body, we will also start with a movie.

Based on these two movies, when we start designing the characters, how do we draw them to make them a little more three-dimensional?

then study it methodically and use it to sketch a three-dimensional

We are also going to look at examples to see how to represent the body.

In this process, if I explain the form, I'll probably compress the anatomy and the details part a little bit and explain it.

When I was drawing, the main joints that I thought were important were the hands, feet, and pelvis

I'll take a more detailed look at how the anatomy is done and then together we'll learn how to draw those things in a three-dimensional way.

So when doing character design, how to show the impression of various characters.

rather than in the second half, or through the head or skeleton to better show the character's humanity

Should be used as the focus of the drawing section.

The theory of light and color that must be known when doing body color in the later dyeing section.

I'll probably talk with that in mind.

I personally wrote about light and color science in an interesting way, not what I learned when I wrote the book, but the following

Let's draw nicknames centered on what I actually work and study

More than difficult to understand the theory and terminology.

I think we start by stating the basic color theory and the degree of color matching so that books and things like that can be written somewhat subjectively.

After that, we learn how the theory of light and color is applied.

And I'll try to color it a little bit and practice the simple tricks first.

Basically, after describing what we must know about drawing and coloring, the

Officially started the design section.

How the character design should start, as I said earlier

There are many people who find it difficult to judge for themselves what kind of design is good.

In order for them to start designing characters from a blank sheet of paper, we're not drawing that

Like idea analysis or keyword organization, in the mind you can try

I'll try it together more systematically in logic.

So, first we need to collect the reference that

and these abstractions

When we looked at the target with the design elements, we didn't flesh out the idea further

How to use it?

Analyze and support the

Use props or mood costumes to apply in the design and then develop it a bit, will practice together at the beginning.

After that, if we tell a lot of abstract stories, the

In Design Theory, we will introduce silhouette and typography for character design several times.

Here, the word "silhouette" is a little bit strange, when we see something, we have a sense of visual security.

For the visual design, we made changes based on silhouettes and typography, and then followed up with processing.

There are probably a lot of strangers here, so we've divided the lectures into several sessions, systematically studying

At the beginning, let's understand the description of terms, such as what visual balance is and the spatial proportions of symmetry or asymmetry.

Initial lectures centered on the center.

So, when we do the design, the

I can't use words that only I know, so I first clarify the merit and terminology, which is what this terminology means.

It should be stated first.

After that we do well, or some of them are static.

Some of them are dynamic, and together they analyze the design and how they should be approached in order to concentrate a certain part of the view.

Take a look at some of these different examples that I will utilize this way when I apply them to my designs.

Afterwards we will analyze and apply these exercises together.

After that, when we start learning about design, how to simplify something, how to emphasize

Using what you learn in design, like how to implement, or how to separate

I guess we'll see how it's written in detail again.

This may be a little bit of difficult content, but I think that, compared to the people who can listen to this lecture on designing with perspex

In order to design it again according to my own wishes, would it be good to do all these studies together, so I have prepared this content as well.

The colors that follow are not related to the drawing and play a crucial role in the design.

Let's take a look at the different color scheme examples and effects and see what effect these have.

After discussing these theoretical elements, we are going to start designing our own characters.

Now, instead of starting with a blank sheet of paper to draw the body and paste the clothes, you start designing the character so that the keywords and props are clearly visible.

I will try to be more specific while considering how to place the idea and catch the eye.

and what I learned about stereoscopy when I studied design

Or go through the hints to illustrate how to show the illustrated shirt in three dimensions.

After that, before completing this work, the

How the drawing will be done, or if we get into practical work, should we communicate with others through the drawing.

This character will be drawn like this

That kind is called time limit work, Xi'an work also tried once to drop Beloop, how to draw later when entering this work.

I will arrange the plan a little more carefully and then move on to this job.

Starting with this work, I will give the lectures in my usual order of work.

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I usually go from the big sketch to the finished drawing as written here

If it is not an anomaly, always do the drawing in the same way, but in a way that those who work in an order that suits them

No longer find it difficult to draw, in that case you can try again to the next level.

Of course, since it is a personal style, you can refer to it, but what do I care about in each process.

And let's see if there's any trick words that the person listening can fully apply to their own work.

After the lecture, and while I was studying

or the way you do things as a character designer, or what you must know when working as a freelancer.

I'll explain it to you again in the course of the closing lecture.

So, when you listen to the lecture, you can listen to what you don't understand a few more times.

Or, if you're really in doubt while working on it, take another look at my video and apply it.

The difficulty of the lecture is.

First, when the person drawing the diagram first starts working

I tried to compress what I thought was necessary overall and fit it together easily.

Personally, when I was studying

Instead of learning systematically, it is better to distinguish between what is important and what is not important to learn in the actual work.

Each of these sections is required, or I will illustrate them with my own tips centered on

During the practical phase, I will continue to provide additional explanations for parts, which have not been explained before.

Instead, we will inform you in detail and try to be helpful when you re-listen to several lectures.

Please tune in to the lecture again when you practice later, it will be better.

And pay attention to the lecture when you listen to it, if it's any good.

Anatomy and perspective are among the slightly compressed contents of this lecture.

When you design an exotic character, whenever you need to, just like anatomy and perspective

It would be more helpful to learn some more difficult content along with my lectures.

Irrelevant to the theoretical content, when drawing, correcting, etc. illustrations

I will be using Photoshop in the future and I can use other digital courses to learn

I'll try to tell you not to have problems, but there are some features that may only be useful in Photoshop.

That part please go to the window.

So we're going to use Adobe's Photoshop.

It should be no big deal, even though I took other courses.

Let me start by explaining the essential settings.

Now if you see the screen, this Photoshop next to the props side of the response tool.

There are babies on this side.

called Workplace, let me set up this Workplace first.

First of all, because the program Photoshop itself is not a program for painters only.

We need to reset some windows so that we can do the drawing.

If there is anything essential in it, when the apple is pressed 6 times.

There are colors like this. Maybe the colors are basic

You'll have some eggshells that are slides.

Let's start by replacing this with an Echidi slider, or set it up with an oil tile, called a ground color wheel.

The so-called color, which is the size of the tone book is also divided into brightness to adjust this.

Called "egg nest unfortunately", this intuitive a little difficult to see, first recommended you must change this.

There is also a window that you can use if you use the color often, like a straw for paint, so that you can use it if you save it.

You can save it here, it's called count and miss.

The top one is the number and size of the second window behind.

Please open this and save it every time if it's a color like the one needed here.

In my case, the books stored here are in common colors or colors I like.

It was easy to organize the table when outsourcing, so very active use of Smarts.

There is also the following layer channel channel if you can use it as it is.

Paths can be written, channels I can write, but layers are always in the eye

Be sure to put it in the closest place and the location where your hand goes most often.

And let's make sure to open it closer in order to confirm the work history, if the history is available.

If you brush, press F5 to open the window for touching the brush settings.

Although it will not be used often, it is a tool that people who draw will definitely touch, so use this one close to your eyes as well.

Then, I tried to set some shortcuts.

I'm using the default shortcut key setter used in Photoshop.

There are some tools that people use regularly for painting.

Or, some tools are rarely used on children and I will change a few together so that it is easier to use.

Press the control transform Alt K and the keyboard show cups and menus will open.

where, if Shokaku is the tool, then in the tool

There is a stamp tulip.

This stamp tool is a common tool used when modifying a particular photo, and we don't actively use it, so let's remove it.

Also, a little further up, there will be hidden finger tools in the tools that don't have shortcuts assigned here.

I'll set the number of this tool for you.

This tool can often be used to mix a certain color with a certain color, so let's remember to save it as a number.

Also, it's called the Lasso Tunas tool here, and this should be set by Ello in the default shortcuts.

Compared to our common tools, shortcuts like Iel are a bit far away.

Compared to that one, Last is the tool that has a lot of room for utilization.

So let's switch this to air 2.

Ryan was initially used as a tool to select passes.

We don't use it often when we do drawings, so unspecifying it will be fine.

Also, if there are other settings in the tool I'm using, I'll mention them again.

It is crucial that I will make a modification first.

And if it's set up, look at these commands to save the settings.

It is also recommended to rest in storage in order to be able to take it out and use it in time when you need it later.

and I exceptionally

If you have a common shortcut, please click on the queue to enter what is known here as fast mask mode.

Quick Mask mode is where you can specify a selection in black and white when you use a brush or load an image.

This function will be used a lot when we draw, so we will press the ballbar key a lot.

would be the choice.

This button is the second button at the bottom of the tool window and it has a quick mask mode.

This double click, if you don't use the general words, basically the mouthpiece area.

Replacing this with selected air would be more intuitive to use.

When entering fast mask mode, please press the queue again.

So, the essential settings should be completed to some extent if you get here.

The brushes used in particular I mainly use the basic brushes provided by Photoshop.

Because it is necessary that

Basic hard round brush with transparency and resizing.

and the resizing-only hard round brush

Mainly use these two things.

If you use the upper flatland, here you can apply the pen pressure directly by pressing this button next to the quote

If possible, touch up like I set up and remember to brush on the hard wheel

Press widely 5 times, open the brush and look slightly down, there will be transformers.

Here, please change the control to fan and let Min adjust his body.

A slight pen pressure also produces a heavy inlay.

With a thicker brush like this, we sorted out the drawing, or made lines that

Because of his high usage value, it is recommended that you additionally save the settings to take advantage of this.

After you finish this setup, you can click the plus button here to name it and save it so you can use it anytime with your brush.

Together with this brush, I use three main brushes.

In addition to that, we just introduced the

Occasionally use a slightly steamed brush, but this one is not used often

Recommended to be saved separately for those who need it.

Guns, for example.

to describe this

Not much of a process, I use a hair brush as my go-to brush head for corrections or corrections that

Uses the default soft round brush provided by Photoshop.

So, all the things that we have to set up when we attend future lectures are over to some extent.

By this point, I've shared some brief introductions about me and the environment in which the Handout Currie Club works.

In the next time, we will discuss more about the stereoscopic drawing of the film in which Drouin.

In the future, I'd also like to ask you for the river. Thank you for your hard work.