Original subtitles

Hello.

This time, using silhouettes and large positions, I used the very theory of luck design as a basis in the previous lesson

Let's take a look at the static nature of character design and how to give it a dynamic atmosphere.

In any case, if you only learn these design theory parts, instead you find character design more difficult to apply.

This time, in the design, how to show more dynamically the atmosphere that fits the character concept.

I'll learn how to show it in the opposite way.

First of all, it is often mentioned that the pose and the leather shoes are dynamic

design or com position is static or oriental. There may be some strangers from this statement.

The design is dynamic, not a kind of dynamics of the same momentum or composition of the character

Refers to the atmosphere that changes according to the combination of the contours of the design.

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So, when the same magnificent design props are gathered, the shape of the silhouette and the arrangement or symmetry of the internal props, etc.

the dynamics of design make a huge impact.

The dynamics of design is a particularly abstract concept, so it is impossible to design intuitively at the outset in terms of character design.

but rather to do various designs that

Comparison of realizations can produce a difference in the composition of a more active atmosphere and a calmer atmosphere.

It also contains the colors that give this dynamic, but let's design the sketch for the sake of

The outline of the drawing is the main memory that can be entered to understand.

The only way to continue to use this design and keep it alive is not a good direction, right?

On the contrary, although the characters are very active, it might be regrettable if they differ only in decoration compared to other characters.

In terms of character's personality or gameplay, combat style, etc. needs to appear to the left in the character design.

So if you want to show a calm and slow silent character, even if the same concept is designed

Roughness, to give the design a more static feel

Needed, instead, when you want to show an active and noisy atmosphere in the character design

Make the design more dynamic and flashy.

So what we can learn through this study is not to make the character constantly more flashy, the

To learn how to use composition to modify the atmosphere according to the concept of the character.

So, we need to adjust the overall composition, not just add more decoration and exaggerate silhouettes.

This is almost identical to the way the human body applies the default eagle.

But there's a difference between using all the elements of design than morphing everything, including the human body, like costumes and special effects.

Therefore, the design process also captures the silhouette of the relatively initial character design that is not specific to the design, while checking the dynamics.

So draw many designs that look better from a distance this content.

So let's start by looking at the elements of the overall composition of the character that distinguish between dynamic and static.

First, we can consider the symmetry and the flow of the line of sight.

If the character design is symmetrical as a whole and the props are arranged in a linear connection, the design will have a static feel.

Conversely, even if the design is somewhat asymmetrical, if the design's center of gravity is not diffused, but concentrated in the center, it will have a more static feel.

The center of gravity of the design is

The "center of gravity" does not come from the emergent composition or pose, but from understanding the strengths of the design that we learned last time.

It's particularly good.

When you put the book down to talk, if the design is dense and the size contrast is large

If the design is strong and objects of similar size are clustered regularly, then the design strength is diminished.

If they are further from the center, the design center of gravity becomes increasingly unstable.

The closer these are to the center and to each other, the more static the design will feel.

If you simply say that there is this symmetrical structure of clothes, people who have something to wear will generally wear such symmetrical clothes.

with a big, wide part in the middle.

Into which is not spatially shaped, either

symmetrical design.

The bottom part is also repeatable, the

The bag is also symmetrical like a backpack, and the hair if

Such a simple symmetry makes the design look very static and calm.

In normal daily life, most of the nibbles come with this symmetrical structure.

Conversely, if you have a character design that

cloak hanging off to the side like that.

There's something inside the garment buttoned to one side and squeezed

The density is very low on this side.

Here is a concentration of dense places, like serious places

One side like this

The design that can be seen inside.

When there are decorations that look like legs

With these thighs decorated in the middle

or wearing a hat.

with decorative lights on the hat off to one side.

The hair style is also a little bit.

Asymmetrical

When designed, it does feel more dynamic compared to when it is symmetrical.

When these things are not present in the differences in details, but rather focused on the same details, or more ornate on this side.

There's a lot of decorative elements, there's wings that

This means it's more static than when it's asymmetrical.

So, these designs can usually completely cover one side of

The density is also evident where the lips are very wide and the opposite opposite

is very irregular, the

has decorative things that

Distribution density with decorative waist inside, the

all asymmetrical.

The design is more dynamic than when drawn symmetrically.

So these include not only the design, but also the overall composition of the figure illustration.

So, because these are asymmetrical in the whole, and it's difficult to balance the visual

In general, it's good to say that symmetrical and asymmetrical use of places like logos or props and things like that.

And, in terms of proportions, the less different and the more similar the small elements of the mass of the design are, the more static they feel.

So, when you have designs that are big are big, simple, small, smaller and more refined

visual balance starts to differ this way big things start to be right then, the design has to run strong dynamics to be able to act as hot air like some kind of variant role.

including hair torso proportions about the same as the toddler Janet's posterior pubic hair, the original larger re-reduced

What was originally grabbed was re-bred while re-sizing each prop to about the same size.

For example, the little decorations here, these wine ornaments or bag buttons

These things were raised again, and the original large cloak that took up a lot of space

Reducing these boots and things like that.

So, when the proportions of the masses become similar, the design is a little more stable and feels calmer.

Conversely, if you are more sure about the contrast between large and small

This latter fifteen may become longer when the equation is made, and the difference in size and density of the props will become larger, so it has a more dynamic feel.

As well as the symmetry and asymmetry just mentioned, if the design reaches asymmetry

problems and dynamics become stronger.

Together with the flow of the line of sight, these are not central linear layouts

these balls and objects here.

The reason for the downward curve now is that the name of the "spur" has also become longer, so it will be more dynamic.

The silhouettes are roughly divided into three types, i.e., there are square thin circles, while maintaining the square outline.

Carry out designs that have unity with the square canvas and create a sense of visual security.

Usually, the silhouette approaches the square shape when the human body has a similar stride and shoulder width, the

This design also produces a stable atmosphere, such as a cape, which reduces the curvature of the outer frame, or wears less curvy clothing, mainly

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If the Disney item flutters depending on the composition, etc., or if it looks different on the screen instead of looking square

is no longer stable, but instead becomes flashy.

Also, the outline that Shimao uses is the wide place and the place beyond, and it can be distinguished in the outline, so the design has the direction of

to represent the dynamics.

Generally speaking, the bigger and heavier the human bottom is, the more secure it is.

So, overall, a triangular silhouette or kind of a triangular composition in which it feels more static.

Conversely, an inverse triangular design, which is getting smaller and smaller, so it usually feels like the opposite of the center of gravity.

It feels as dynamic as looking at a gyroscope.

This occurs when the composition is used to draw the human body with ground in a long text.

In the composition of an inverted triangle, on the contrary, the large and wide individuals are best concentrated at the top.

The more elaborate and complex the design below the comparison, the more dynamic it is.

Instead, it looks like a triangle

With the size contrast of the situation, it needs to be more distressing than when it is symmetrically visually balanced.

It is a typical triangle composition, a painting that was practiced once, and generally when picking up such corners of the painting, this painting is something.

The triangle in which the inverted triangle is formed, the area is very large, and the sure thing is crowded on the upper side of

The door and directionality downward, that is, narrowing words, will maintain a somewhat disturbing looking profile.

This inverted triangular outline has the effect of pulling out tension, so it is often borrowed when making a painting look more dynamic.

On the flip side, I drew a triangular outline of

Humans usually find big and wide places heavy

That part is supported underneath, and the more dense the smaller things are up there, the more stable the center of gravity is.

So when comparing the same density, it feels more calm and silent.

and the circular outline has no edges compared to the thin edges of the square, so there is no direct relationship with the dynamics of

The amount and scale of the design looks larger as the motion time increases if the twisted contour, etc., has a surface.

So, when you want to design with curved contours

If possible, on the contrary, the part that corresponds to the straight line must have a straight part, so that it works a little better.

For example, in this illustration, we have the shoulder line as the side image of the overall surface.

Conversely, the bottom part of this

Even if everything is slightly off scale, I intentionally showed the directionality clearly for a more linear feel.

So, the bottom is thin and the top is big, so this silhouette will stand out more.

By the way, the "King Cobra" was inspired by a large ship.

Taking isoproterenol to the extreme, I randomly configured the synthesis of this design.

Visualizing some flow elements that can be symmetrical, in the form of curves

to balance the design.

And although it's not part of the character design itself, there are things related to layout in the elements that were discussed last time to focus the line of sight.

The part of the illustration that the character or object occupies is called the "positive space".

Conversely, the area occupied by background or empty space is called negative space.

With this negative space actively entering the character silhouette, the painting as a whole becomes a dynamic atmosphere.

In the opposite way, with fewer and flattering silhouettes protruding from this silhouette, the painting appears full and has a static atmosphere.

For example, in this illustration, this pink section is the negative space that hits the glass interior from the overall silhouette.

Slightly more dynamic. On the contrary, if the space that enters this way becomes less, the painting will appear more full and will also create a static feeling.

Personally, when I was studying for my animation degree

In addition to the cartoonish expressions, I practiced simultaneously expressing emotions through work, or this static atmosphere.

That's when this negative had an understanding of positive space and then decided the movement based on it, and that definitely increased the power of transmission.

The use of this space is actually more difficult to determine in the early stages of the figure design, to match the composition and the same momentum that

It is recommended that you continue to give modifications while combing the character design xian or performing character tracing.

To prevent this negative space from entering the character area, do the following.

When adding designs, it is best to focus on iron less, flat accessories.

If possible, fit with the character when placing accessories, as additional misses will reduce the bump in the signal and the negative space.

Instead, if you want to change your design with dynamic design, then do a little bit more in the accessories in the original design

Emphasizing the sense of structure and making it pointy, or placing the character and space slightly apart will make a big difference to the silhouette.

In this way, when there is a character design

The side with less negative space is static, the line of sight does not stay long, it feels calm, and the strength is diminished.

Conversely, if you enter the negative space aggressively in this way, the picture has the effect of something focusing attention to this side.

This side would be more dynamic, so the line of sight would be going forward from the back of

In such a way that the character design

You need to be very aggressive in writing out these blank spaces and stuff in the character design if you intend to.

Instead, balancing the visuals is very difficult, so the fact that

harder to approach some designs.

So as far as I'm concerned, I personally find the design a little bit full, very calm, like a glance

Completing the configuration minimizes the negative space of the configuration itself.

The silhouette will go in the direction of such a blocking, and the role will be different if you want to make a dynamic design.

open, looking, weapons and things like that, to the sides like that, and the effect spreads radially.

There would be this blank space, this is called an afternoon silhouette, this is called an X-shaped silhouette.

Type V silhouette, with a calm, static image, with the effect of Alchaoui

Conversely, if we approach it with the X-za silhouette

its design is more dynamic, mobile and strong.

Of course, this will become the lead vocal point.

John is inside with a prop arrangement for the lead singer to catch him.

So when you're drawing something like an angel, the wings are just wrapped up and calmly going in?

Does it spread its wings in a radial pattern? There would be such a difference.

Such silhouettes and compositions actually determine to a large extent the static east side of the painting that

The same design could make a difference in the atmosphere if this were used.

In such a painting body that is generally said to be somewhat casual, the face is less concave and less convex because of the large amount of post-pang that goes into the face.

Whether it's a male or female character, the hair or the headdress generally applies these design elements.

For example, if you want to bring a little bit of life to the character

Overall

There's strength up there. Put the curve up there.

trying to focus the travel loop time of the line of sight to the top, the

The opposite of the lower side, the ball and

There are many linear constructions, and the whole can form this profile of an inverted triangle.

Now, if you want to make it more dynamic, you either use negative space or the design itself becomes somewhat asymmetrical, the

So it's a regimental flower decoration.

Design up

Increasingly active, there is a sense of security in the lines descending calmly in the opposite direction.

On the contrary, if you go to the triangle as a whole with a slightly calmer design, even the same double tail will be tied down.

And the further down you go, the more you use the curve, the better it is to have the weight tilted towards the bottom

When the design extends outward like this hair, there's this negative space, so playing inward

It's best to minimize drawing the outer outline.

Also, this design would definitely have a calmer effect if the bow was also placed symmetrically behind the bump.

Meaning.

But men's faces, like facial structure.

Because it appears, so from the beginning of going out, it's divided into such simple parts and concave and convex strong parts.

When I first did a more dynamic design, I first felt that this contrast was rather asymmetrical

To emphasize a little bit more the elements that

The sense of structure can create a sense of asymmetry in the silhouette, and the opposite side can calmly move closer to the direction of discharge, right?

On the contrary, in this case, usually the visual balance collapses a lot, so no matter what kind of decoration or something like that is used

It's better to balance it slightly in the back.

Conversely, if you want to produce a calm, static feeling, even with the same hair

Behind death, as emphasized on the way forward, there is almost no negative space.

Sticking your nose inward.

There are 6 seconds of balance, front-to-back balance.

You might say that this has to do with the concept, but the concept does start from this vision theory as well, so if you know and use it

can be applied to it.

And if you don't know, because of loneliness, it's coming up more and more in the design of the painting, so these why that kind of atmosphere

I'm curious about whether it's helpful to learn various designs if you want to use it.

When wearing clothes or something like that, if you want to have a calm feeling underneath, you can teach the interview and train yourself well.

Simple entry, let the design produce a lot of strong, the more you go to the top, the more powerful you will do, the

concentrating on efficient grave density, some symmetry factor here that

There are asymmetric elements above, or packets or something like that, now reduced to below, too

Make the design a whole triangle, and conversely, if you hit a somewhat dynamic design

It's best to consider designs where these directional and things like that can be done towards the top.

Like this can be erected Carla, this kind of zigzag on the clothes and stuff like that, more upwards than the inclined ones like below

If you go up a little bit like this, the overall design will be slightly inverted triangle.

Continue in the upward direction.

Than the direction of descent, the second line of the graphic and the one are like this, so that falling down

The country is getting a little bit smaller in the chaos that

If you're making decisions in the treatment, it means that when these accumulate, the picture becomes more dynamic and more aggressive.

When closing the teahouse, carrying it a little bit further up, as the basic housewife and silhouette approaching words, it has a more aggressive feel to the design.

Using these things, simply depict the character concept and try to practice the design once toward the static direction and the dynamic direction.

I usually prepare some scripts and stuff like that carefully when I do these lectures.

When I defer assignments, I'll work while I'm talking and just look at it casually.

Usually, when the lower part draws the same concept, if Wudou draws the same thing

Only by emphasizing the sense of oriental split-ventral anatomy can one enter many ways

Almost at the time of design, what kind of fighting style the character uses, the

When we approach the design more aggressively, there are effects, not more props that

The concept of having effects when you're dynamically represented in compositing, right?

In coordinating these, it's very important for us to learn to contour and compose now.

Because if I look at the design with a static sense of

It would be good to write down the outline of the downward diffusion and the asymmetry and density concentration where the line of sight should be focused.

And, in the direction of reducing the maximum negative space, it would work better if the picture now appeared as a five-letter silhouette.

I'm going to concentrate the density to the top, so if I isolate the bottom too much

balance will be a little bit on the top, so it helps to be able to make some of these changes below.

The pants and things like that aren't heavy, and the spread has to be a little bit bigger, picking the overall

If you grab the triangle silhouette, it will be a design where the center of gravity is biased towards the lower part.

So, it would be better to approach with this design like this.

00:24:24,083 These ideas, in the work of Xi'an, don't immediately think of the leather shoes that

It's better to think about things like country and layout when you move the design that's set to illustration in the future.

Of course, the trouser pocket side, but all the way up, in order to teach the area, I couldn't prepare, the way to the theme.

add

Attention to both sides.

It's like a preparation pose.

And keeping this line overall, there will be a calmness if you go up.

And if you draw along this line, you will have a feeling of calmness, which will fall perversely to the lane, when

This part might serve as a great eye-catcher.

The overall idea is conceived with a stable typography in order to get only the parts in where they need to be.

It is best to have a positive edge, and approach it while thinking, at the beginning.

The hands and such are the most complex and densely populated part of the human body, so they would be the part that would attract the eye.

It's already established here. Organic shortening.

Something like a hot wind.

It's confusing to try to apply it directly to the machine type, so that it only utilizes the short electric

It would be better to just capture the size and express this sense of structure later.

To give the hair a static feel, when the iron on the face just became so complex

propagating it to the back, instead of propagating it to the front of this

Negative space.

When minimized, you will feel more balanced and static.

30 minutes too

It's a bit boring to plug up, it's also better to put some pigtails where you need to attract attention and rest from 10 to the end of the week.

If you want to put that part of the line of sight over there, pushing asymmetries and irregularities over there can be very helpful, and

If you see this waist dance.

There must also be put decorative or put on both sides of the method, now look at the design is this side, so the center prevails, biased to this side well.

So I make sure that the whole symmetry

Put the decorations and stuff like that on this side, and then use the four-line direction for the sugar bird.

And it's more concentrated density on this side than going up from here, and I actually want to go up this way, ground design.

Well, it's better to have things like tattoos or those details focused on that.

It's not symmetrical, it's irregular, and if you're running in difficulty, your eyes will be focused on you, the door and the weapon

Instead of barely looking here, if there is something heavy and calm laid underneath

It does look more gorgeous up there, so that you also think about whether the center of gravity is appropriate.

Look at the expert theory that

Now, if medical credentials were written out repeatedly

The design doesn't seriously hurt the strong, but completes the silhouette better

There are also many effects, and it is better if it is arranged in a climb up way than upwards like this.

And, you can put a little bit of scar and stuff like that and trim it little by little in a direction that doesn't destroy the overall com position.

A design like this one would certainly feel safe if written in helpful text.

On the contrary, if you write the next sub article, this prototype layout becomes very important.

Maintaining the symmetry of the rental fee ratio like Andahi should create this trend, right?

Conversely, it is better to emphasize the design toward the top if you draw two with dynamic design.

First of all, when considering from the center of gravity tilted upward, in a way the east side of the station is already taken care of enough.

Therefore, if you start learning the human body and start forming a narrower and narrower form as you go down, the design above this will be more accessible.

So it would be better to emphasize the shoulders and the chest part, but the waist part looks as thin as possible going to the bubble room.

In this state, you can only push the details to this position so that you can simply get into the area that

These things like hair and things like that create a lot of negative space, so it depends on the eyes and ears and things like that, or try to be on this side.

to drive out the details.

The other side is only simple enough to balance the weight, and the hair decoration is so biased to one side that

It is better that this design in its entirety identifies the difference in the mass.

Do a little bit more hair and the clothes are a little bit

This means that if you go into the asymmetry and add small, fine details on this side, that balance breaks down a little bit and thus has dynamism.

There's something inside.

gradually spread down the country, and when there was drawing this kind of pants and stuff like that.

So thick pants, no emphasis on the top, heavier words pants and such.

With words, you can apply a thin, thin corner plate type design underneath.

The area of the text is too similar and too unlike this area, so in protest, the top is put short, so that this part occupies some of the card area that

Instead, put these on top and trim the silhouette with the feeling that the design inside

If you put props and things like that asymmetrically, it would emphasize the strong.

The further you go down the line, the more dream-like it becomes, so that small women can line up

Than to match this room, please continue to use the lane and now will also emphasize the strong.

When you first started designing the personality exactly what did it look like, and can these or vignettes be put in?

Than these, when the overall flow, does the character look dynamic or do the other characters really differ?

With that kind of predominant look, the wheel would be a good direction to go after the design later on.

This organization gets progressively larger, when there are the same weapons

The top is indeed very large, and underneath is increasingly fine detail, like fingertips, and this plan also carries ears.

Borrowing the design like a claw and putting it in will emphasize the feeling of the tip ending more, I think.

The big drums finally find some inventions that make those inventions bigger, and those details flock to things

You'd better consider something that adds more detail.

This would be the largest element of the overall design element if this hair became larger and covered the shoulders.

So as a whole, the single item that takes up a medium area would be the narrative material that shows the flip, right?

The point described here should be removed.

The chest and the other side.

It would be nice to depict this as briefly as possible so that the design can clearly distinguish asymmetries.

Actually, the balance of this part of the design is gathered, so it's good to use the gantry to make sure to give the same thing to the labor side.

Something like stripes help also become boring, so the area is large

Just write the density contrast of Bitwin along with the details of these parts of the exclusion.

And it's too asymmetrical overall, so there are some decorations in there that are symmetrical

Coordinated design balance is fine.

So if you try something like magic, where a character doesn't move dynamically in the direction of

the hats and stuff just calmly fall onto the logs and

Overall, the character would be more if wearing the triangular clothes in the form of ropes.

There will be bonding when wearing the same dress, and the narrower part of the detail is better concentrated.

Things at the end

Irregular, decorative.

If your hair is also short, it will look like it's squeezing into a hole, and it's lifting and baking like this, and spreading further and further down.

The wrinkles also increase with the site.

In the same symmetrical design, the

Only the parts that really catch the eye can be written asymmetrically.

I like to see a regular shot, almost the most important element of realistic design.

A completely asymmetrical symmetry can also have the opposite effect.

This detail above becomes so insistent that the following is a bit boring and will not splash the tangent color if it feels like it will end

Nice when adding repetition or regularity with bold details.

Weapons and things like that, the staff goes in and inevitably the center of gravity tilts upward, which is the inverted triangle design that

and probably weapons like brooms so that they don't come up.

Conversely, as a symmetrical weapon for children, something like a book would be a good prop, right?

Because the whole is square, the decoration that goes into this has a strong circle back inside.

Conversely, if you want to see some dynamic design

All of these details are shown in a large area at the bottom, and some mushroom origins are just wonderful the shorter they are.

When there is a complementary gap, the corresponding part of the top is really large, in order to show interest, the brim of the hat split into two branches, or

These short hairs are also supported outward, and to emphasize these more

They'll use rebels and stuff like that, if they're reaching outward too

The face is much more balanced, and it's good to put this inward to a certain degree inward.

Decorations like this

It's also better to distinguish the role of the mouse slightly down the line.

Instead, let this role build some.

Something's flying over it.

It's okay with this energetic husband's asymmetrical cloak.

The design is going to be asymmetrical overall, and the buttons above the audience are a little bit off to the side, too

The large and wide part of the density is best relaxed a bit.

When we say there are weapons and things like that, we don't use wands for symmetry either

To break the sense of balance, something just spreads out in the middle, which is too balanced in itself.

Why hang things of different sizes like this, this side is curved then, and here some straight items are gathered.

Although visual balance needs to be considered, it must be better to go in with a vibrant design.

So, a little bit bigger and then a little bit bigger, I'm going to show the props

It's gonna look great.

Smaller parts of the spoilers should be made more detailed and detailed, thus serving as an aid to strong painting.

In this drawing, which occupies a medium area, are 5

The face or part of it is this part of the cane.

There will be a strong sense of narrative in the design.

This means that the face and crutch decoration parts need to be drawn more beautifully than usual.

Pick some corners of the eyes.

Throughout the year

Coming down.

Even the sensory differences found will become stronger, right?

Take this character for example, to emphasize this triangle

21 would be more emphasized if something like a ribbon became large enough to be attracted to the land.

If a character like this one.

To further increase the negative space, the cape split and with more decoration, the donation would be more dynamic.

Rescue this signal also contrasted with this role, on this path, completely high in the North this role

More live with the general special degree of equal feeling words will give a sense of calm.

Usually, the process here is called thumbnail, and it becomes a whole atmosphere before the formal design.

After that, when I sorted out the direction that best suited my design

And then looking at the design as cellular enemies, if they're too separate, they'll come together so they can bind to each other.

Conversely, because the props have given 1 second, they will also separate if the instrument date is indistinguishable.

In this separation, the designs do not play with each other, but depend on what connecting device or transitions are used.

It is a natural continuation and can be distinguished.

In the next few minutes, we will use these connectors to see how we can make natural separation between design props and how we can connect them.

Listened to a long lecture, you worked hard.