Original subtitles

Following Anjenshi, this time, the first part of the lecture - drawing.

In which I share the time spent discussing the two films.

Today's presentation will revolve around the content of the basic color pottery film, together with learning something that shows three-dimensionality.

First of all, for the human body, the term means that the complex structure of the human body is omitted as much as possible, just one of the sketching methods to reduce the human body to its form.

Many people have heard the terminology of why it is important to learn two movies in the first place

We're like paper and canvas, it's harder than you think to show three-dimensionality with two-dimensional lines.

So it's especially difficult to describe something with a very complex structure in three dimensions, like the human body.

So at this point in time, complex structures

Skimming a bit for now, finding the easiest and simplest way to explain the three-dimensional, sketching would be more beneficial, right?

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So wait here for a moment.

Before explaining the formal brush theft, it's best to explain a bit about the structural shape of the morphology before turning over.

You may have also heard of this structural model.

It's like similar words that feel a little bit different.

I will lecture later, too.

I'll use these three slightly differently, and I'll tentatively distinguish what each of these represent.

First of all, the form is the most basic unit for describing stereo.

Something like apartment brick tofu is a hexahedral form.

Beverage cans are cylindrical in shape.

Just like the apple and the earth.

It is the most abbreviated three-dimensional image of an object that can be named in addition to the concave or curved surfaces, etc., that the target has.

So it is not necessary to state the bend and size, etc. when saying the shape, so it is possible to draw the three-dimensional relatively easily.

So, generally when learning the perspective circle rope method, it is recommended that many people use two movies to start sketching from the form.

And structure means that the form is the overall look of the object then, it means that part of the relief form goes in, comes out, bends and folds the composition.

You can understand the apartment balcony or the apple tap.

Again, this is the reason why the human body also often uses the term human anatomy, rather than the term human anatomical form.

Generally speaking, it is valid to draw the whole to the parts, depicting them in order from large to small, so

It is well known that adding anatomy on top of two films is the most effective sequence when representing the human body in three dimensions.

It says that the structure of these things going in and coming out is very important later on in designing parts, so take a closer look at it then.

Finally, the shape is the result of drawing the target of the plane, i.e. a shape such as a straight line or a curved square.

The previously given example apartment can be said to be a square circle if the apple is mounted in the photo and becomes flat.

So more than the shape and the structure, the

There is a lot of room for subjective expression, and therefore as important elements such as character design Diflmena animation.

It might be a little bit difficult to explain it that way.

After that, while listening to the lecture, if my instructions were not confused, I first sorted it out briefly in the

Then, you might think, what is this graph.

When you want to draw something as a solid, use two movies to depict the object, and that should be a good way to do it.

To draw three-dimensional planes, you have to actively use elements that show three-dimensionality such as superimposition or shortening.

Drawing two films with an abbreviated structure is ideal for expressing these things.

I should also sketch the human body with two movies in mind for most character designs, unless anatomy has to be described.

Personally, I pay a lot of attention to composition and post-form when I draw, so two movies becomes somewhat necessary.

In a way, when the two films were made, they would post the subsequent joints or the main anatomical structures that

would not be difficult to describe.

If you're not a human body and you want to practice portraying your target from multiple angles, you can, in fact, approach you with more film.

I personally recommend that you look at it.

For example, when I drew the fork and the horse, I moved it to the two movies that

It's very helpful to understand stereoscopy.

If you want to draw small things like bags or shoes or casual clothes in three dimensions in the future in character design

I personally also recommend practicing drawing in both movies.

Then the human body and the movie together do once the memory and the movie in a variety of ways

In this lecture, I personally need to focus on two films, and I certainly like to draw complex human structures that

Because in sketching we give more priority to three-dimensionality, the goal of this lecture is to sketch with two films.

Generally speaking, the human scale and three-dimensional representation become striking.

So those who are just starting to paint.

It's not hard to follow the painting, and the second half is free, and I think it's useful in character design.

On the contrary, the anatomy and proportions are more accurately expressed and need some more murmurs later on.

On the contrary, compared to the other two films, it is very approachable, in terms of homoeopathy and composition

The active use of these two terms is also recommended in the dongsei and composition sketches that will be performed in later lectures.

The extra part in the human body, in which the Čeing people are gender-neutral, is called a landmark.

The basic human body is also depicted in the film in an abbreviated form using this landmark as a standard.

The landmark is used as a base for large-scale

Because the general proportions of the human body can be drawn simply, plus the anatomy later on is relatively easy.

So, start drawing from the head, skull temporarily omitting the five senses, first drawing with 9 forms.

During the drawing phase, can the mutilated pile be drawn later when erasing?

Draw with the form first.

Next, in the landmarks of the human body, draw the epoch of the torso starting from the clavicle

Draw the torso as a cylinder roughly the size of a head

Useful for later three-dimensional representations.

and drawing a torso-like column.

and drawing the position of the pelvis.

and the torso below the pelvis

Please draw two consecutive columns of the same length.

Draw the area of the bottom of the foot in contact with the ground, keeping a slight distance.

Then the upper body, when dividing the torso into three equal parts

On the uppermost side, the

Please draw the sphere in contact with the torso.

After that, we use two cylinders that

Please proceed to draw under the shoulders.

Because the hand is one of the most complex parts of the human body.

At this stage, I'll skim a little bit.

It's usually done at about half a head length, so if you think about two-thirds of a thigh is good enough.

So if the start from the head to the pelvis is about four

When continuing from before the beginning of the pelvis all the way to the toes, please scale this length to about 6.

This approximate ratio is, depending on the body type, more or less variable when done with a deep grain, please refer to it.

Also, it is helpful to mark some landmarks on the human body for later anatomical representation.

The body is stolen under the flower in three equal parts

This picture

When looking from the side, please cut to a different position that

This way, if you're looking from the front door of his torso, your cutting surface will draw the nose like this.

The pelvis is a way for women to draw a little bit wider.

If you find it a little difficult to resize on this form, you can skim it at this stage.

The pelvic degree is right in the center about the nose.

Leaving space for human nostrils.

When you divide this in half, if you cut off the section of single positive degree

to depict a shape like this.

And in front of this pelvis near the side, there is a very important part of the landmark in the middle - a highlight called the long bone play.

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It is also drawn on the model next to it, and it will look important when it is divided into upper and lower body, so it is better to mark it in advance.

In my case, I didn't draw this position exactly, but when I made an approximate mark

This column

Thought it had a straight eye position, so it was marked like this on the side near the front.

From here to the edge of the bridge.

It's okay to lay out the sphere

By resizing this sphere later on, the

will be useful when drawing hip or pelvic lines.

Also, when you see this shape from the back

The landmarks that appear are also temporarily marked.

When viewed from behind

The corner of one side of the old center painted on the shoulder to draw the square plate of the dachshund dueling.

The approximate size is the size of a human hand.

So a crumb a little smaller than the head

is located right over here.

Putting the other end of this board all the way on the shoulder.

Draw the line here like this, and this part will be useful for drawing a landmark called the shoulder oracle later.

The heteromorphic armor bone will move a certain position with the angle of arm movement, so in identifying its part

Later, when drawing poses or making leather shoes, you need to change the position sufficiently.

Now it is drawn on top of the frontal view, so it is drawn as a simple square, but by the way, this shoulder oracle is seen from above when the torso is

The shoulder is attached to the side of the torso

So think it's better to stick together with a bit of diagonal direction that looks different.

The red shoulder armor bone landmark part drawn here also extends to the shoulder when it is drawn towards the top than expected.

Drawn in the form of this ball, which takes precedence in later applications of the posterior ear sleeve, the distinction of the shoulder determines the size of the muscle, not the bone.

If this ball is smaller, narrower and thinner, you can draw the upper body outline in an inverted triangle.

For example, when formula9 is drawn small, if you draw a model

When drawing with a small child's body type or a thin person's body type like this, the shoulders

drawn at a steep angle.

In this state, if the will on the spherical tube

If I put the rear beam on a larger shape

and we first draw the

The size of the 9 drawn below is also slightly larger than originally known, the

So if the angle of your leg changes.

Along the contour of the torso, the whole thing is based on the waist

The top below will narrow like an hourglass to finish in a wider form.

Conversely, if

9 on the shoulder becomes larger in the back room, let's see how it appears.

Keeping the shade size of the body

Slightly more body and arms if you slightly expand the size of the shoulders

Produces a sense of distance.

The big pectoral muscles on the body.

When the width becomes wider

The body proportions may become a bit awkward, in the case of the shoulders, and also the bones starting from the shoulder nail bone that is separate from the torso.

The size can be made by movements like the deltoid, so the posterior cheek will be more of a priority than the mass group when it comes down to the water.

So, if we draw it out.

the army and the v-belt would change size, not the shoulder.

Instead, because the body maintains size, the body as a whole can form a detailed outline of an inverted triangle, right?

Similarly, the pelvic degree

Unlike the model next to it, draw it to a size that is not too different from the width of the torso, as we originally drew it.

Compared to the one drawn below next to Kudo, if it were a little smaller

The bridge as a whole descends in a straight direction.

So, with the 9-yard shift, you can produce curves and contours specific to the shoulders and pelvis, right?

The shape of the torso and the pelvis

It is recommended not to change the size on the body proportions, but the theft of arms and legs when performing body shape depth trapping forest

A slight adjustment of the width is good.

For example, when drawing thin body shapes with a little bit thinner width than we know, the

Drawing upper and lower bodies, etc. helps with body shape representation, right?

And vice versa.

When drawing a little more muscular body shape than the model drawn next to it

Set the shape of the arms and the lower body a little bit larger, the

You can finish the post-full moon if you accentuate the body shape.

On the contrary, in the English phase of the painting, when we look at it from a three-dimensional point of view

there is a lot to think about, so drawing the correct measurement of the object's dimensions is more difficult than one might expect.

Not that recommended either.

Instead, it is recommended to keep the body length ratio drawn to some extent.

The drawing is now located on a frontal view of the human body, so that the human body proportions look intuitive and

The whole is drawn in a square circle shape, so it doesn't look three-dimensional.

In order to draw three-dimensionally, I made shapes, but they don't look three-dimensional, so there are some problems.

So, in order to draw objects three-dimensionally on a plane, what do we need to know

Let's start by looking at the four basic three-dimensional representations.

To represent stereo on the plane, it is best to first understand the concept of a large contracted superposition of short concentrations.

We live in three dimensions from birth, so what is distant and near

I certainly know what it's like in the eye.

The far side is small, the near side is bigger, and the near side seems to cover the far side.

However, when the two-dimensional plane is drawn in three-dimensional space, the

We use the instinct to memorize objects from symbols and in with a flat look, so we often miss these three-dimensional representations.

So, let's start by looking at what each stereoscopic expression is and why it appears.

I'll check the reduction first.

First of all, the farther we look at the world, the more we portray it in the form of these cones, which contain more things.

From the side.

If you look, you can make more intuitive use of something that's far away and closer to me.

The volume of the root sutra that is near is the volume of the genesis that is far away.

Here, I'll draw a square for you, the profile of the field of view, called the metaphor of looking at the picture.

It's actually circular, but to make it easier to understand, I'll draw the picture as a square first.

Putting a ball on the side near my eye.

I'm going to put one ball after the other on the far side

Each ball draws a small picture for me.

At this point, the nearby balls make up about a third of the picture.

So, if we look at it from our screen, it would probably be drawn to this size.

The ball in the distance is measured relatively small on the screen, the

drawn as one-sixth of a yard.

It will look smaller on the screen.

But then, when something so distant and close to a field of view is loaded up at the same time, there will be a difference in size.

If these two balls are loaded into this my field of view at the same time, then the close one is the picture

drawn at about one-third the size of

The distant drawing will be one-sixth or one-fifth smaller.

Thus, the far side of our view appears relatively smaller than the near side.

The phenomenon of looking small this far away is what we call shrinkage.

Now, let's look at the superposition.

Draw our field of view as seen from above, and return.

Again, it's a cone, so you should draw it with a triangle.

If these two tools are drawn in red and blue.

If the two balls are spaced apart, side by side or clearly separated from each other, then in the field of view unrelated to the reduction

each ball looks perfect.

coming along our field of view like this, in a straight line like this.

From that screen, the two balls are drawn out intact, right.

However, if the two balls are arranged due to differences in perspective, the story is a little different.

The appearance of the color ball is close at hand, while the distant ball narrows the difference between the distance of the hands behind it.

Near ball

The whole red ball is visible when it is picked up the same way as the hand we have shaken

If you pick up the blue ball twice, this part might be completely visible, the

This part will be blocked by a nearby part and become invisible.

If we can see our poem, then part of it will be hidden, and instead of having the full look, it will be obscured out.

In such a picture we are blocked by something in the distance, in which case we instinctively

far and near.

The phenomenon of being so far away that it is obscured by being close is called superposition.

Let me see Jane.

We need to draw two columns from our field of view.

At this point, the sides of the columns are separated by blue and the red top surface is the thickness.

In this case, on our screen, the

Both columns are square bright colored squares that look exactly the same.

However, if one of the two columns is tilted in length, there will be perspective in the direction of the column.

The upper faces are far away from the far side.

Extend this straight line to our line of sight again.

Here it looks like a red square with no blue parts.

However, if you draw a tilted face, then this length will appear shorter when the cylinder is tilted.

Also, the invisible top surface will be drawn more clearly than the original length.

After the dovetail is confirmed, I try to draw the shape below.

The sides got shorter and were drawn shorter than the original length.

The blue color indicates that the cross section is not straight, but round and oval shaped.

The shortening of the red side at this point is called shortening.

Conversely, what was invisible appears to my eyes, and this is extension.

If the target is perpendicular to my field of view, then flattening

The red side is the opposite, if the target is horizontal from my field of view

The length becomes shorter and appears shortened.

Depicted with an extreme example of

If the plain is tilted in this way, the blue face will be fully expanded than it originally appeared.

The red side will be completely shortened.

So, if you take advantage of the shortening, the target is tilted from me.

So, it is possible to express perspective, and even if it is a flat object, if it is described by "shortening and expansion", it gives a sense of three-dimensionality or space, and thus there is Greece.

Finally let me check the concentration.

The concentration phenomenon is a narrowing down from what we just talked about to a little bit of content, such as first taking the visual field

And also I draw there are roads that are far away from my direction.

The outer edge of the road is red.

Painted blue for you.

When you see each frame, you need to divide the frame into several times and paint it once, the

at the periphery of the picture, each path ends at a different point.

At this point, you see the road a little bit further away from the outskirts of

At this point, it's even further away from the

Draw it as gradually gathering towards the center.

If this is an endless continuation, then eventually the red dots of the two roads on the screen that

Only the blue dots will meet at the disappearing Handian.

Then put those collections on a screen depicted by what you see, red road to that dot, blue road

That is, it draws in a visible way towards the point.

Two hands come together at a point.

So far away from the direction of the Nicene Sweet that it eventually converges into this one point of the phenomenon.

This is called the concentration phenomenon. And this point that you see at this point is called the vanishing point.

This vanishing point is very important in the perspective perspective to accurately draw three-dimensional space.

Using this vanishing point, it is also possible to accurately draw three-dimensional space with a 1-point dominant 3-point 5-point perspective light.

Substitute perspective principal method is very difficult to understand the content, so now to here once does not understand it does not matter.

Go here to learn about the four basic stereo representations that you need to know in order to render stereo.

The content may be a bit complicated and may be difficult to understand, but we should definitely use it to understand its content when we make two movies later.

Where narrowing or concentrating both requires correct composition, but superimposing and shortening can be expressed subjectively to some extent, so

After that, it is recommended to make very active use of overlap and shortening when using intentional terms to express a sense of three-dimensionality and space.

In particular, as we said at the beginning, we are used to drawing with flat surfaces that

without being covered up.

I often have problems with shortening not getting shorter, so if you think the image is flat, then check that part first.

I encourage you to return.

So, take the previously briefly drawn stolen conformal mold and find out how to use these three-dimensional expressions.

For those who have a hard time drawing three-dimensionally, first draw the front side and other angular stolen models that look a little bit flat, first

While drawing the direction of my daughter's and my view, it is best to look at overlapping shortening, etc.

Also, set different graphic directions or apply perspective by shrinking the perspective perspective is smaller than imagined.

Wow, in the next lecture, let's draw the eastern potential and composition and take a closer look at it.

First, let's prepare me so we can see it when we attend.

On the side, you can draw what we know as a leg and an arm, without much difference from the front.

In this case, a slightly longer foot would be helpful in expressing the side.

So, let's start with the half side that we draw most often and see how the overlay appears.

When drawn on one side, the head is spherical and

The shape difference does not appear when viewed from the front, or from another angle.

Similarly, the torso with the dimensions of the hair

The pelvis is also

When you return to the side, the shape will be square.

Similarly, the proportions of the human body move the line of sight, as now

The length should remain the same.

Feet on the calf will rest better if they are halfway up.

On the contrary, when I look from the side

Unlike the front side, the arms and legs on either side will appear to have a sense of perspective from near and far, so you should draw this look by overlaying them.

The shoulders of the body seen on the half side will be closer than the torso.

There is no distinction between the body and the shoulders, the

It should be drawn as overlapping like this.

The arm that extends from the shoulder

Separated from the torso.

Depicted as covering the torso.

Again, the opposite shoulder is coming in on this side, so it's going to be covered.

The arms look equally complete, and only part of the body can be covered in order to be complete to our eyes.

The legs are also close to the eyes in the same way

If it's located on the original side, it moves towards the center, the

and the opposite, opposite, opposite leg is not separated in this way.

When they go inside, they create overlapping parts, and these parts must be shaded.

So the spacing between the shoulders and the shoulders becomes narrower than when viewed from the front

toward the center, the moon also overlaps these two spacings and then concentrates them in the center.

If it looks like a foot, it can be confirmed by shortening the expansion.

If the red side part of the front part is blue, it will look complete if viewed from the front side.

If viewed from the half side, the original length is shorter than what we see from the front side.

It also looks shorter on the side than it does when seen on the side.

This isn't hard.

But when you draw it with a human body, the overlay should also appear in this way.

If you draw the character in half so that the overlay appears that way

The overlap should appear.

For example, on the shoulders, you should draw a little closer towards the middle, not exactly next to the torso.

In this case, the position needs to be shifted over so that part of the person can cover the body.

The other side of the shoulder, which is usually drawn to this full length, too

but rather towards the center of the torso, which is obscured at the torso position, the

extending all the way to the arm.

Overshadowed by the significance of being very close to the eye.

And, if you look at the front and the side, you're physically going back halfway

And the positive ratio to the front of the body also gets shorter

So it is not possible to give a complete picture here of what the body front looks like composed of the mass army and the returnees.

It's a little bit shorter than we know, so the angle of the sides getting shorter.

Again, the sides shouldn't be drawn exactly like that.

When drawing on a fault plane, it must be drawn as if the length is shortened.

Usually, if the torso returns to the half side, the

Anatomical structures or clotheslines corresponding to the proximal side of the periphery

All structures are emphasized closer to the peripheral line, which is useful for three-dimensional representation.

If you check the parts that are covered, you must have the torso covered by the arms that

there must be areas of the arms that are covered by the torso as well.

If this model goes back to the side, the

The sense of distance and proximity needs some more explanation

The overlay should be more aggressive.

Near-ground trigger.

The back arm should be closer to the middle.

The bridge is closer to the center, too.

The overlay will be a little more positive.

The front part of the moon

It will look shorter.

By confirming this, you will see that the area of the overlay has indeed increased.

Conversely, if you are close to the front, you need to reduce the overlap a bit.

Reduce the occlusion area instead of overlapping it completely.

To make the opposite arm look close to the front, do the following.

Some overlap needs to be reduced.

The bridge will also reduce the overlap.

The part corresponding to the front side

The front side is elongated, so the part visible on the side is shorter.

Look at the part of the character that appears superimposed, again

Arms covering the torso

Even reducing the extent to which the torso obscures the back arm

Also from the side, in the mass group in front of the torso

The abdominal muscles and other things that have been shortened also expand a little bit, and look more similar to the frontal view.

Now, if you draw this model, or if you normally use it to express a sense of space

The recommended order for drawing is from closer to the eye to further and darker and darker.

If you look from the cape and you draw a head that

the torso extends the cross section.

The sides are completely shortened to a circular cross-sectional shape.

The torso is imposed from the pelvis to the legs, the

Even if it is not visible or visible, it is still obscured a lot, so the figure can now be omitted in the stage.

The shoulders are located in the center of the torso.

The arms can also be drawn on the shoulders.

Instead, on the arm, when I look from the top, I will be oriented perpendicular to my line of sight.

So you can draw it as the full length, instead it's the furthest part, so the obscured part is getting

What you actually see is less than what you think.

The toes are a little bit visible.

Now, if you're looking at this from 45 degrees up, you can draw it like this.

Draw the head as a circle, first.

because the body is farther away from Nicaea' than the head.

Do not distinguish between the torso and the head as if you were seeing them from the front or the side, but obscure the cross section.

The cross section of the torso projection is elliptical compared to the front.

Also, the side edges will be much shorter than when viewed from the front.

Then, the pelvis and legs also appear to overlap and shorten, the

same as the torso.

Shorter than the original known length

The body got shorter.

The bridge is also drawn shorter than the original known length. through the pelvis.

The section has to be adequately shaded to account for the fabric.

The foot also cannot be kept in its full length, the

From 45 degrees or more, it extends enough so that it is different from the frontal view to draw the dorsal area of the foot.

Conversely, to show something farther than the calf, do not distinguish it completely, but shade it sufficiently.

The shoulders should not be drawn directly next to the torso either.

It can be drawn a little bit further up, a little bit behind the torso.

Similarly, the arms are drawn first in the same direction as the torso.

If there is a tip here, when viewed from the front, the

The arm ends around the pelvis, so the arm that ends here also ends at that position is fine.

Applying what you see from this angle to the character.

the body as a whole becomes shorter.

The profile should be shown as a curve instead of a straight line.

If you don't fulfill it properly.

The way it looks from the side of this model, draw it with my line of sight direction, and I'll check it.

This champion, including the perspective principal method.

Because it must be based on my field of view, it would be helpful to depict the direction of the line of sight this way.

If the perspective lens method is applied here, the direction of the drawn line of sight will spread out from the eye and make a difference.

So, when I see 45 degrees, we can see here how Jane and the superposition appears.

The screen will always be drawn away in the direction of the line of sight, appearing at a point perpendicular to the second line.

Look at the side of your body

Not a full circle, but a shorter length, to get into our eyes that

Half long, half head late, only half oval, front half of the torso

Should be drawn shorter than the original known length.

If this scale is the scale we see when we look at the torso from the top, then it will account for our field of view when drawn at 45 degrees.

Similarly, the octave

Bridleway

We can confirm that the ratio changes following the same method.

The face of the moon is more extended than the front, we can check that too.

But than from the side, or completely from above

shortening can also be seen to check.

Conversely, if it becomes a low angle, drawing backwards is fine.

From the calf to the head, the layout is reversed, so the overlap is reversed and the shortening is similar, but the lower side rather than the top side should appear in the field of view.

If you draw once, the

Because the shortening is about the same, the length will not change much, but instead of seeing the top surface of the section, the bottom half should be drawn.

When drawing the Haney angle, the

Because it is not near the back of the eye, the

The order of drawing from the head is good, the

When drawing low angles, generally start with the leg closest to the eye, indicating overlap

can be drawn effectively.

And the reason it's so hard to do is because if we look at people from above, there are many, in everyday life

Because the visible hypertrophy and the visible area from a low angle, which is not easily seen in everyday life, the

Many times it feels more difficult than when drawing at the corner of the leg.

The more such times, the more calmly I stand on the other side, even if I know in advance that it is a long time coming.

As I'm showing now, from close to the eye to the direction of the stereo

Or, you can think about the perspective of the layout while you draw it.

In this case, the hair is separated, so it is often drawn.

In this case, it is difficult to draw the neck or explain the angle, so it is best to actively shade it.

Again, the shoulders are next to the torso, and if you draw here again, the shoulders look a bit forward.

So, draw it at the bottom, please.

Instead, at this point in time, the

Drawing at the pelvis to the end of the arm, it is recommended to draw from the side closest to the eye.

When you draw figures, you will think of each one as a simple figure, instead of thinking of it as the human body

Think of the face of the human body as we know it, and the proportions will be more positive than if you draw it.

Don't do this, each shape is far or close or tilted.

Think about whether it's a shorter drawing, I recommend you to make a sketch.

Here, please mark the profile to show as a curve, so it will be more helpful later when you post the anatomy.

Similarly, if a tall, long and low-angle angle looks a bit high, the

overlap and shortening should be more aggressive compared to what is drawn now.

Instead, just shorten or overlap a little less when drawing in the forward direction than when looking from a 45 degree angle.

is close to the front.

You can see the cross section, just use the ellipse to reduce it a little bit

The degree of overlap of the pelvis and torso can also be adjusted to be closer to the front.

The moon is also drawn very short.

Conversely, when the angle drops a lot, the

superposition is more aggressive than drawing 45 degrees, the

which also shortens the time more than we thought.

There will be a big change.

Finally, let me draw the look once on the half side sub angle.

If the magic is hard, you can also modify it with a high angle or a half-side look.

For comparison, the model is being temporarily imported when seen on the high line road.

From the side, I'll bring it back.

What we're observing is that we're constantly thinking about how shortening or overlapping appears from all angles that

When you need to draw a picture, if you apply a half-edge using the Joheim criterion

the hair will stay as it is.

unlike when viewed from the side.

This side of the shoulder, there is no this side, so a round rope should appear, so a superposition should appear on the shoulder.

So you can't draw them separately here, but draw the near side so that the shoulders overlap inward, note

Conversely, the opposite shoulder

Something farther than the original drawing can be confirmed.

than the original drawn position.

Now that we're in here, we're going to go to the back as well.

to corrugated without much difference.

Compared to when viewed from the front, it can be drawn without much difference, but as with the unilateral shoulder, the overlay should appear on the leg.

So compared to the original drawing of the cape view, move a little bit further to the center, please

At this point, I often draw a foot swelling here, and

Don't do that, like now, on my angle, let me move a little bit more to the center of

It's better to move the data sheet to a sufficient area.

Because the end of the arm is also based on our pelvis.

Even then, if you think the pelvis ends, grab the column so that it's alongside the shoulder

When we see this model at the top of the 45 degrees

to draw a shape.

My hair seems to be a little bit too big

Shrink it down to the top, it's easy

Similarly, when this graph is viewed on the half side, it angles down a bit more

Just like we learned before, we can fix the shortening and stacking a little more aggressively.

So, this shape

From this point of view, the

If you use a little more than what you see, and look further up in that state

The overlap that appears when viewed from the side and the shortening that appears when viewed from above.

These things should be exaggerated.

Especially the drawing at about 45 degrees, you can memorize it, like I'm thinking now

Put the specific angle

The shortening or overlap when moving a little more appears more exaggerated, rather than back, with a direction that matches a nisia

The captain tilted.

Or the reason for getting shorter.

The size of the head will continue all the time, the

It becomes slightly lower text, so the body part should be back a bit more.

Therefore, the sides should be drawn shorter.

At this point, the forming section becomes rounded and divides the triple decomposition line of the side

Therefore, these guidelines should be plotted as a curve.

These guidelines will later need to be actively used to draw clothing folds or anatomy.

The same goes for the pelvis

I'll change it for you, so it will stack more and shorten more.

And the legs and arms, etc. are also observed from the side angle shifted a little bit further.

We need to move the overlaps near each other for further confirmation.

Don't forget to draw it shorter.

The foot is also seen from above.

The area covered by the legs will be slightly more, and the area of the back of the foot of the lost bit is definitely

Let them see it.

And the same with the shoulder, as the leg gets closer and closer to

a little bit more aggressively.

Like this, the opposite shoulder is almost completely covered.

I would go for a little less.

On the flip side, if we were closer to some aspects of

Or if we fix it closer to the positive side, the

Instead, to shorten and overlay slightly weaker, modifying the words can illustrate the three-dimensionality.

Also, if we draw with a low angle, it will be a little more difficult, but in a more difficult order

or shortening and overlapping are not different and are usually the easiest angles to see.

There is a lot of proportional variation when we look at it head-on, so many people draw low-angle half-discs when

sometimes find it difficult.

In this case, don't think of drawing the human body, as I said before, how the direction of each figure is and what is closer.

The back is to be covered up.

With this form first, draw a picture, then make it closer to the human body that

Later anatomy as well as clothing pleats posted and additional instructions for doing a three-dimensional drawing

Should be the most important point.

So, when I see it closest to the eye, the symbol drawn from this calf closest to the eye

The cross-section appears as an ellipse, and the calf looks shorter than we know it should.

Drawing the thighs to the same length as this

When we draw the opposite direction, they are completely separated, the

Do not draw, even if the overlapping parts are less, overlapping.

From pelvis to torso

Layout

Not much different from the angle we draw.

Conversely, if something in the distance is drawn smaller, the

Or, instead of the direction in which the outer corners are facing, the concentration phenomenon appears and is drawn.

In this case, we have to make a more accurate drawing to illustrate the stereo.

If it is the first practice, the outline can be drawn a my word, it will help at this stage.

In the next lecture

And then rhythmically laying out the arrangement of each shape

Let's take a closer look.

Maybe that's right.

Don't draw 100 units here.

Your shoulders are lower than you think.

It's natural to draw a lot of map breaks, right?

Please draw from near to far from the room.

And the foot is also the best in one eye, so don't separate it from the pocket

Please make the shape while holding it.

Simply put, when this angle is slightly closer to the front

reducing and minimizing the overlap, the

Because it's getting closer to the front of the archipelago

It is better to draw the shape of the head and torso on the outline.

Angle as seen from the moon

Smoothed out, don't draw it long in its entirety, it's okay to draw it slightly shorter.

Just painted, if a stolen model

If they appear on the body like a drawing, then we show the overlay and shortening

Let's confirm it again.

Basically, your neck is more than from the front

It should be drawn shorter.

And although the shoulder on this side is completely visible, you can confirm how much of the opposite shoulder to cover.

When these appear from the upper part of the torso

the neck does not emerge intact with a long base, the position has to be a little bit shorter than originally known.

In the anatomical structure, the

slightly different from the stolen model because of the incoming and outgoing parts, the

It is important not to omit the basic stereoscopic elements to be observed.

Shorter than the large muscles or abdominal muscles in the front of the body when viewed from the front

So, we have to draw a map that

If we draw this scale exactly as we know it, we won't be able to draw the direction back.

So add a little bit more thinness to the expression.

Same thing with the shoulders.

It doesn't matter if the shoulders here are a little bit more complete

If you draw the opposite shoulder exactly like this, the opposite shoulder goes back compared to the torso.

So maybe it looks a little awkward, but in this case, the opposite trade covers up a lot more of the look than the front shoulder

It should be the extent of access from the side image only.

the legs are completely separated, too.

It can't be painted, it's just a slightly put degree, so to make the overlay appear a little bit, we have to get the composition out.

After that the anatomy is shown with the calf closer than the knee.

Because that's how the superposition appears.

If a line is needed on the border to separate the two, then the thigh drops down first so that no line is drawn.

Draw the outline so that the lower leg takes a little bit of priority.

For special boundaries, the

When you say the drawing is three-dimensional, the closer you get to the contour line, the more aggressive you need to be in showing the sense of structure that

When we draw, thinking about what is close to the eye, it becomes very important to draw.

The foot can also see the lower side

It must be drawn slightly flatter than when viewed from below.

For a slightly more natural angle here, the direction of this little arm is slightly turned this way, so change it again.

In other words, it's important to modify the shape with a slightly clearer angle from the front than from the side, right?

Just the opposite.

Makes the straight line on the front shorter and the line on the side longer.

Help me to modify

If you add the anatomy afterwards, then explain the structure of the human body.

Drawing to the fact is also not more difficult to carry out than expected.

Drawing all the way up to here.

The parts corresponding to the joints become very important in the anatomy when we do the three-dimensional representation.

After we finish the shape and the process, some of the things, like the shoulder, the knee, the pelvis

Let me take a more central look at how to depict it from a three-dimensional perspective.

So looking at it as a whole, the

When you do the character design afterwards, paste in the necessary structure, or where there is nothing wrong with the sense of form.

Checking and revising the sketch at the same time is an easier and more freely expressed method when practicing.

The front of the torso we are depicting

The rib line, for example.

Let the recording draw the arc in front of the

Don't use the hall when you're looking at it from the front.

The lines will change depending on the three-dimensionality.

These are the little structures that we have to express when we color the

If you have time, there should be a lot to learn if you post the sketches bit by bit after writing them.

So abbreviated

It is easy to practice because the shape direction is also very even and you don't need to care too much about shrinking.

On the contrary, if you draw the distant ones smaller or shorter, it will look particularly awkward, so be careful.

And, unlike the proportions seen from the front, the proportions of the human body seen from different view angles are not familiar to the eye that

Sometimes there are problems such as hair becoming larger.

For example, when drawing underprint ink, the head is often drawn larger than expected if the source is drawn in a group with a string method.

It is not difficult to modify the numerical plotting of

Don't just focus on the scale.

In the three-dimensional expression of the purpose of this lecture, I recommend that you continue to think about the perspective exercise based on my line of sight.

of.

When I usually practice this way, I don't feel that I should determine a specific direction of view to draw.

always with the idea of staying away from the four lines of sight first, and practicing the idea of shortening and overlaying while continuing to draw.

It is highly recommended not to draw the difficult angles too deeply, and to think that this is practice while drawing in a different direction.

For example, when I'm drawing

Thinking about drawing on a 45 degree angle, not drawing, if the head first gives me the time to draw

I would like to practice placing the human body in this direction.

So, if you habitually draw like this, then shorten it a little bit

Enlarge the section, shorten the sides, the

Call this

How to use the three-dimensional expression that

I think first, then draw.

Looking at the whole sketch, would I feel embarrassed

In order to apply what it looks like when viewed from the front, I checked that the three-dimensionality was not interpreted wrongly, as if it had been continued to be drawn.

When drawing a low angle, if you think you can accurately depict the human body, you will draw more than you think you can with the frontal scale.

More when drawing with film, instead of thinking that every figure is a human body, get into the habit of starting closer to the eye. Thinking and contemplating

Practicing from the calf, the

Make overlap or shortening active in My Sketches.

We continue sketching.

Generally speaking, creation happens as easily and interestingly as one can digest.

If you find it difficult to draw at a particular angle on it, you instinctively avoid that angle, whether it's a design or a sketch, and carry on.

In order to prevent that part in advance, practice the diagram English that can be drawn simply by not putting which angle too deep

Drawing at different angles

I recommend you to practice for the purpose.

Usually, we use the perspective view that

When drawing, the far ones will be slightly shorter and

becomes smaller.

Because it becomes more awkward if you apply shrinkage without knowing that part at all.

People who are just starting to practice English will go in their own direction

The practice is based on stacking and shortening, not narrowing.

Up to here, let's practice drawing this together in three dimensions using the human body base also in film mode.

I think this can be pretty difficult content for people who are doing three-dimensional expressions for the first time.

Rather, what was learned in this lecture is the basis for future learning to learn

practice sketching in more varied ways in character design.

Even if it's difficult, I recommend you to keep practicing.

So that's the part that I like, and also the part that shows that the content is getting longer.

In the sketch that was drawn, there was no character specifically given and no anatomy applied.

In the next lessons, we will learn how to use this quiet model to draw the fuselage or center of gravity that

Let's go into more detail about how to effectively draw a sense of space in a drawing.

Listened to the long and hard talk.

I'll see you at the next lecture then. Thank you for your hard work.