Original subtitles

Hello.

This time, let's take a look at the final color scheme of character design theory.

First of all, I want to start by saying that we're learning the complex theory together, very hard.

The fact that when you design things

Not by feeling, but by principle and understanding, actually one learns also very difficult and requires very experience value in the field.

So, in terms of descriptive ability, we can do it slowly by repeated training that

How to create better designs is one of the parts that many people are not good at grasping head on.

So when I'm preparing the talk and you hear this, you're asking, can it be applied to this design?

Very, very distressed.

You've heard some abstract, boring theories until the past time.

This time, let's talk about a more intuitively interesting world.

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Personally, I'm interested in the world that

Before I studied character design, I took the time to study color science books and fashion from a young age.

Color is used heavily in design not only in character design, but also in interior decorating and marketing.

On this character design section, we moved on from the last basic three lectures to more design in character design

Let's talk about which color scheme is good to use, its types and effects.

In character design, you certainly can't do without color matching.

Many of the people who color character designs are made of perspex.

But if we look at some more simple color theory.

logically complete the design.

that humans perceive things through the five senses of sight hearing smell and touch.

Of these 70% of vision, color accounts for more than 7 of visual information.

This shows that color has an effect beyond imagination and a huge influence in the way we see the world.

So, color is also the most effective, intuitive, and easy-to-use design element when it comes to character design.

In fact, I purposely deal with it at the end of the design section.

The colors are easier to use when other design principles support them.

There are four different color schemes for the Rivermark boat this time.

What kind of color scheme, depending on your preference.

You can choose whatever you want, so you don't have to necessarily go to all the color schemes presented in the lecture.

So, each part is organized so that you don't have to watch it consecutively and it's not that relevant.

It is recommended that you only watch as many as you like and apply them to your designs.

There are ways to use color perceptual properties to facilitate the application of

or using color and color matching and contrast.

This part is related to the clothes that people wear themselves in addition to the character design, right?

For those who want to go a little deeper, you can watch the formula that applies to the character design along with the color matching ratio.

There may also be some people who don't quite understand the difference between color matching and body color.

Painted colors are two or common, and if you look at visual design, light and shadow can also be distinguished by one color.

However, in character design, a slight distinction can be made.

Body color is a description of the light and shadow of the target, usually centered on light and color theory.

Personally, I find light as interesting as color, so I wrote a separate book on this theory.

You may have seen it in the bookstore.

Color matching refers to assigning unique colors to each part in the character design.

Also known as a branch of design theory learned so far.

The colors are also quite difficult as far as this color port is concerned, but I'll try to explain them briefly in this lecture.

Later I'll look at the kinds of colors that are multiplicative times.

There is a way to use the perceptual part of color, another way to use color matching and contrast, and another way to use color proportions.

The sensual part of color.

There are color books of colors, but also the sensibility of white and difficult colors with the same color properties and shades of lightness.

This perceptual color matching, both in Fenton's color descriptions and in the Color Institute's image scales

organize this content for me to illustrate.

Fenton color and image scale

It wasn't attached to the video because of copyright issues, it's easy to see with a search, so be sure to search for it.

Like Phantom, this year we will make some colors public at the end of each year that

These 3 remarkable things and how they coordinate.

For example, in 2011, yellow and gray dominate, and each color is simple

Not suggesting yellow and gray, but putting together an explanation of the meaning that this color has and the story and things like that.

and the scale of this color lab image.

Like this sorted out the adjectives and such that such colors have for many people.

But some things are not accessible on the site right now, and it's easier to see with a direct Google search.

And this site called Color Robles, a site that I occasionally see not only when I look at character design, but additionally when I refer to some color

If you search for things like the keywords you want, you'll see that these color clockworks were made by individuals.

There are certain settings for the scale in there, too

If I have a suitable color for my idea and the concept I want, you may want to refer to it in Color Loves.

I personally think this is a very good site.

Go to the link below and you can log in directly.

Using color matching and contrast.

Using color matching and contrasts in interiors and fashion, etc., character design can be used.

Like the way people find it fun to match clothes, it's usually based on this content.

I'm not much of a dresser either, but I'm actually interested in fashion, so I watch fashion shows and malls a lot.

A good example of how to use color matching in a place like that is.

You can see the latest runways in magazines like Borg.

Or, from the Adobe colors provided by Adobe, you can see the color combinations and contrasts very visually.

Personally, I recommend, Adobe colors is very good site, so be sure to do, so recommended.

The blessing is that you can see these runways on the fashion show recently if you enter a link to a certain situation, and see the colors at the same time.

Or a fashion style that we can borrow in character design, or a construction part that we learn together

There are a lot of rampant blunders, so go in there if you have time and look at the relevant shows if there's a designer that fits your preferences.

You can look at the colors of this kind of clothes and things like that, and you can see similar colors.

When you see these props and things like that, how this prop is worn on other collages, these can be confirmed immediately.

Personally, when I don't know the office of a particular concept, I will enter this store to pretend to look at it.

There's also Adobe Color (Adobe Color), which is a website that offers color smears provided by Adobe.

As you can see, there are now similar hues, or ways to change tones in a single color

or complementary colors or something like that is easy to look up.

This is a very useful site for finding the right color when you move the slide.

There are also ways to divide the roles and color schemes by color scale.

Such an interview

The color scheme examples are actually too diverse, so if you want to see examples of usage, you can best analyze them from a variety of results that utilize color.

Just like this lecture, the use of color can also be found in character design, how to use color proportions on brand colors or interior decoration, etc.

Very nice.

Actually, this is a suggestion to browse the various references yourself, but I'll show you some recommended sites.

If you go to the brand song club, you can immediately check out the familiar Google and Starbucks and other places like Color Bart.

If you go to this site called Team Love Lab.

A site that directly adjusts the color scale and uses images to search for things similar to colorbar.

There are also taiji flags here.

Putting Li Guan once in the color clockwork of the overall Minyu character, you can see these used in the photo.

First, let's go through the perceptual part of color and understand what you need to know when applying it in color matching.

The so-called sensual color is the use of the sensual part from white and difficult colors to the color base.

For example, a red saturated color when depicting a character with representative warmth and enthusiasm.

When drawing a flat and icy character, a saturated and low light color in blue tones is an example of using sensual colors.

Emotional color matching is also mentioned in the color science that

Even interior decorative fashion game illustrations are popularly used as a way to commonly use color images.

Generally only listen to the monochrome effect is poor, how to match various colors also consider it together.

Let me look at the properties of each color shows the phenomenon of color perception.

The color determines the temperature perception of the color, and if there is a red family here from magenta to yellow

The monochrome suit is a blue send of a color that comes from cyan to violet.

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And this green and beneficial red and blue are right in the center, and the purple color system has no particular sense of temperature, so it is called a neutral color.

Saturation determines the attention and clarity of the color.

The higher the saturation, the higher the clarity and the more maximally effective the image of its colors.

Conversely, the lower the saturation, the weaker the image of the color.

Overall, it has a static and quiet atmosphere with a modern vibe, so it goes well with a variety of colors.

Brightness determines the sense of area and weight of the color

Usually, the higher the brightness, the lighter and the larger the effect, the more pronounced it is.

Conversely, colors with lower luminance have a heavier, smaller effect, even for the same area.

Using the color sensibility, use the previously recommended colors while looking at the bus or image scale

Suitable for the concept of character design, which can be simply dressed in matching colors.

Of course, a simple laundry seam is recommended, so how much to apply on what, the staff should have some control.

Based on the phenomenon of color perception, look at the need for color sensibility to share, come to understand.

First of all, the temperature sense is the color that feels warm is called difficult to be born, and generally has a positive effect.

And the effect is vivid at high brightness and solidity.

The color that feels cold is called Hansen and has a soothing effect.

Also, when the overall occupancy degree is used, the effect goes up.

Like a neutral color, it is the middle of warm color and white, not warm and not cold character, and the effect is medium.

These difficult colors become a good factor in character design to show the character's personality.

And the focus tells us about the visual impact of color on our eyes.

Usually, colors are difficult to color, that is, saturated colors, they are very striking, and on the contrary, a century

Neutral colors or full degrees of color are very striking.

It's good to show something like the presence or importance of the character in the character design.

In cases like sense of motion, if you look at the drawing separately, even if it's the same shape or size of color

Some colors are protruding forward and some colors are backward, with the effect of going in.

This is called the sense of movement of the color, and the more the sense of movement is counted into the color, the weaker it is called the backward color.

Usually is difficult to color, the higher the brightness, the more into the

white, the lower the luminance, the more regressive, and this combination usually has essentially the same color relationship as light and shadow.

When using this sense of motion in character design, it is possible to show something like the energy of the character.

Talking a little bit more about the colors if they're a little bit hard to see, there's a sense of weight.

The brightness of its color feels heavy and light because of the darkness, called a sense of weight.

Subject to the general brightness of the color, the color with low brightness feels heavy, and the color with high brightness feels light.

Therefore, when the colors are the same, the brightness is higher and

Higher saturated colors are lighter, on the contrary, lower luminance and lower saturated colors have a heavier effect.

So when you're doing the color matching, you're making use of the outline of the design center of gravity triangle or something narrower that you learned last time.

In order to create a stable atmosphere, on the triangle outline, the darker color was painted on the bottom

For an unstable look, instead, the reverse triangle silhouette can be intentionally color-matched darker to the top of the figure design.

The so-called sense of weight is somewhat abstract, the

Personally, I think it's a good element to associate with the character's voice in character design.

The interview sense is the same that

Depending on the color, there is the effect of showing both large and small, called the sense of area.

An expanding color is a color that expands and appears larger than its actual size, while a shrinking color is a color that is somewhat smaller than its actual size.

In general, the brighter the color, the more expansive it is, and the darker the color, the more shrinking it is.

This is actually a little bit more related to the character design compared to the fashion sense that people wear the actual wear as well.

Now, this visual experience

There are colors that are very hard and colors that feel soft, and the distinction between this is called the sense of operation.

Pastels that look soft like normal brightness and low saturation

There's also white and viscosity of straight saturated is the effect of the blue family having a hard look.

Like the sense of temperature, it is also good to use the sense of operation when you want to show the character in the character design.

Don't try to memorize this too much

Look at the ticket I prepared, so that there is this effect with color, ah, just look at the extent or not.

Overall, it's better to look at the degree of the guidelines when shaping the concept of the character.

So now let's get into the way of using color matching and contrast to match colors.

A way to view color matching using combinations and contrasts of two or more colors.

This combination and contrast is generally utilized mainly in fashion and interior decoration, etc. The characters also wear clothes

Of course it can be applied naturally in character design as well.

First, review what was discussed in Basic Sackfort and then look at it first.

Two colors that are almost opposite in color are called complementary colors, and this complementary color has contrast

Very obvious, can emphasize each other's colors, and the colors alone can be clearly distinguished.

This is called complementary color contrast.

In addition, if the difference in lightness is also present, the contrast will be more tangible.

The people here

In the case of doors and sky blue tones and purple, etc., there is a colored clockwork near the other end

On the contrary, green and pink are also almost opposite, and the colors alone are distinguishable.

On the contrary, if you use the surrounding colors of a certain color, the colors will naturally connect, which is called adjacent color blending.

If there are more colors connected, the gradient color is the matching color.

For example, yellow and baked green are colors that are close to each other.

No matter what color you use, they are all related to each other.

This purple violet color of the purple family is also almost similar, so it has the effect of colors being connected.

A very harmonious color scheme would be very helpful, I think.

In character design, it is usually more difficult to use only two colors, so when using multiple colors, you choose adjacent and complementary colors.

Use a compound adjacent purple.

For example, when the color contrasts with the complementary color

The natural division of a color into neighboring colors and the purple family of neighboring colors is used to great effect.

Adjacent colors are very easy to use in character design, so you can see this color scheme in many illustrations.

That is, traditional character design work usually uses the colors of the subject object.

To some extent, complementary colors are mainly used.

As with the three primary colors, the use of distinguishable triads or tones of the three primary colors is called color matching.

Cuicolors are a little more difficult to write than neighboring complements, but the color length distinction and clarity are very good, and with good use in character design

The colors have a very stable distribution effect.

So, on those children's toys that need clarity, you can see this tricolore color

Yellow, blue, and red.

Colors so widely divided into triangles are extremely clear, and vice versa, such as purple or this light green.

The pink color is sub-worldly.

These things also have nothing to do with each other, as long as they form a thought type and stabilize the Cuicolo color scheme to make a difference.

There's going to be a lot of color matching feeling on those kids' toys, right?

Conversely, if each color is highly saturated, then even for visual balance

You need to put some thought into distributing these shellfish or colored pottery or something like that.

So, what we know about white from past basic color theory

This time, we will also take a further look at a few color schemes that also apply to fashion chairs.

The methods of natural color coordination are tonal full tones and tonal tones.

There may be a little confusion.

Hue open tones are colors that differ in brightness in the same color and colors that are naturally connected.

Says to use different tones on the same color.

Beige Gothic, typical shades are tones.

So overall, the beryl is a little bit different, but the tones are rich, so it has a stable and harmonious character.

Some of this color is dark, some of it is bright, some of it is vibrant in the brown family.

This color is in the blue family, some are thicker, some are fuzzy

Some colors are lighter, and using multiple shades of the same color in this way is called toning the temperature natives.

And the shades are all different, but they all use the same shade.

So overall, there is the characteristic of forming a sense of unity in Beliugo.

It has a sense of calmness when it is unified in a "low regime tone", and a vibrant atmosphere when it is in a bright tone.

Pastel or brown-green mixed with camouflage.

Or, alternatively, this annual round is like a pale pink, mixing all the lighter tones of pastel shades to form an example of tonal money.

And the reason for calling monochromatic painting kama in art, the color scheme that unifies the color scheme in fashion into almost the same color is called the reason for kama.

Words that may be a little strange, etymologies like kameo that appear in places like movies.

The reason for kama at first glance.

The design looks very uniform, as both are coordinated using only subtle color differences that look the same color.

Instead, the overall color is uniform, and

It is very difficult to emphasize something with a specific color compared to other color schemes, when there is a color scheme, and that is one reason for the fork.

First of all, just like here, the

All compared to the tonal tones that we just had, to the Bellevue is also almost uniform, looks the same color, and that's the reason for the Karma.

It still looks the same, no big change in color, almost solid color scheme is the reason why it is called Karma.

And the reason for the so-called forked ship is that the cloth after bokamai means false prefix in French.

Because of the kama, only one color is slightly different, so the way it is vaguely emphasized.

Applying complex reasons to character design, its not very clear, but works very well for detailed high character design.

with a solid design portfolio supported by colors that emphasize only Sezan.

Take the food, it's like it tastes almost honestly without the flavoring category.

So, I personally prefer the kama for that reason and the creamy color of the bocaccia.

Produces a certain design flavor.

For example, here all in the Masenthal system.

Only specific parts are painted red, in a way that emphasizes the color difference in order to be implicit.

The way in which only one color is the only yellow in this kind of Bechtelton, thus implicitly producing a color difference

The contrast is too unintuitive, but the depth of the color scheme can be felt when you look closely at the picture.

I personally must have a reason for a color scheme that is difficult to write, but personally I really like.

And it becomes important to separate and emphasize colors effectively if more than 3 colors are used.

At this point, one chroma plays an important role in separating and emphasizing.

If there are more than two colors with high brightness solidity, one chroma can be used to distinguish between two colors with no color.

This is called cellularization.

For example, in this case of pink and light green, they contrast with the complementary colors, but form a very sharp contrast that

Many cases of intentional use of object colors, such as additional colors used

For example

Both light green and pink are bright, so saturation is low, but using black to fully distinguish this color is a cellular gradient.

Conversely, red and green are equally colorless, but both are essentially low brightness colors that

Distinguish this with low saturation, but with bright colors, as cyanotype has white.

Conversely, a chromaticity can be clearly emphasized with splashes of color, when low brightness fullness colors are gathered

This is called accent.

In the last studied transitions, the transitions usually act as cell treatments or accents.

Black and blue, for example, are both literally, receding colors, so they're not slightly eye-catching colors.

At this point, with the extra accent color, writing yellow on a very high local system within a few days

It has a clearly emphasized effect and distinguishes well between the two.

Conversely, the case of sub-colors like low saturated gray or this blue-green is also lower in name only.

At this point, please use a color that is sturdily fried and high in clarity like red, which will emphasize that part and act as a separation.

By using color matching and contrast in this way, you can create your own colored strips simply and effectively.

To better use this color using light, do the following.

You can also split the colors in more detail from the character design to the public.

In character design, the same proportions as large and small must be applied, and this also applies in the matching generation.

On the back world, depending on the size of each area, it can be divided into casting colors secondary colors highlighting colors, each of which can be given to the character.

Cast colors make up about 65% to 70% of the overall color scheme, and their larger areas are there when conveying the overall atmosphere.

Auxiliary colors are the connection between the primary color and the highlighted color and account for approximately 25% to 30% of the overall color scheme.

Accent colors, also called accent colors, are the colors that give energy and life to the overall design.

Only about five to ten percent of the overall color palette.

The area color scheme actually varies widely in terms of how it is used in learning to achieve results, so it's good to know that first.

We're going to work out a color scheme for designing characters that

I'll take the large and small scale I've learned in the past time for now and design a color scheme based on the colors of the interview.

Before I explain, let me say that personally, when I design a character

It's like a bullet.

So the saturated colors in the design are very strong because of their high explicitness, so they cannot be sent indiscriminately in the design.

It's understood that it's great to have a defined number of saturation bullets and save colors to use only where they're really needed.

When looking at character design as a whole, it's important not to spam saturation bullets so that the overall saturation of the design becomes too high that

There is a high saturation where there is a low part, and conversely there is a high part if there is a low part, etc. It has to be balanced well.

If you want, you can lower the saturation appropriately.

There are ways to tone down the colors, and there are also many opposite parts, and there are ways to strongly spike the saturation.

Look at the hard color matching model, and the mass house also look at it together.

Looking at the character design in terms of scale, it can be divided into the mass institute first.

The role part of the ship occupies the largest area in the design, with a good sense of quantity and comb direction, which has a great impact on the silhouette.

You can see the red dress plays a big role.

And the part that plays the role of Juxu, as explained last time, plays the most important role in the design.

with a certain sense of quantity.

Because of the inclusion of the narrative part of character design, medium-sized elements become very important in character design.

And as a bull character, it will become a detail of the character design.

An important part of the design is intensive.

Splitting it into "de-selection points".

Like the red section, these descriptions and details are the basis for today.

These intermediate blues can be likened to line elements because they have a good narrative effect when they are drawn as curves or straight lines.

Like the yellow cow, it doesn't splash where it needs to in the drawing, so it can act as a point.

You can also apply transitions that you learned some time in the past.

Transitions are devices used to connect or separate parts and components, and are usually used for relatively small areas in color matching.

So usually white or black is used to separate colors.

In order to finish painting the mass of the figure design, the overall need to connect or classify the parts of the spread

It would be a good part to write with heavy tone if you don't use object color, or if the overall illustration is low.

Also, I'll start by understanding the rules that the three ships together make together.

When looking at color matching as black and white values, the distinction between values when matching colors is not quite divided and is much less readable.

So, instead of distinguishing between parts as colors, relying on contour-like lines to distinguish is not a good color match.

Rather, the 3 value parts can be well distinguished from each other, the

If the outline layer is turned off, its shape looks like it would be very effective for color matching.

So when it comes to color matching, it's not just about the color, it's about what looks like the value. controlling the function of the wire.

It's better to do the value confirmation layer and always confirm it.

What is illustrated from now on can be applied immediately to the role design.

I centered on lightness and saturation to design a color formula that matches the visual balance.

Thus, under conditions where values are differentiated, stable ships are always made.

On the contrary, when choosing colors, when each color is chosen between harmony and contrast

It is better to apply this part with the contrast you can refer to first.

The first large area is very dark and has the full degree of the situation.

In this case, the first starts with a low saturation color, so it is easier to match the color design.

A part this wide is very dark, and you can change the medium area size first when you enter the full degree.

Basically, because the color that's laying underneath is very dark.

To create a value difference, you can choose a slightly darker or slightly brighter color.

When using neighboring colors, it is more difficult to use point colors, and if possible, it is better to use animal colors to match.

If the lightness varies in this way, it is better to use three colors to emphasize the point colors where you can as well.

Because the overall color is linked together, it is best to emphasize it with a complementary contrast of highlight colors.

Or, if a section this wide is dark and makes up the whole, then the middle area of white

There are also bright colors that are completely colorless.

Cast color and brightness contrast I degree of saturation completely with low white.

And in this case, the primary and secondary colors are the accent colors, so a dark and bright contrast appears.

The middle name of the highlight color is also available in gray.

So the middle brightness, but with color emphasis is not good, so use painted color also a little saturated color.

It's best to emphasize the accent colors accurately.

And because there are many cases of overall color darkening.

For this kind of transition, please use bright white color will be more stable.

And now the saturation is very low, but bright colors we often say that even the red of the work, or pastel painted in a large area when

This situation is also easier to lose color, because the saturation starts very low.

At this point, if a large area constitutes a full degree, write the color on a similar lightness in a medium area.

So it is better to use the same bright color, but with a different color, so that the colors connect naturally.

Rather, the key points when using neighboring colors

Because color use becomes a bit difficult, it is better to match the value with a color that determines the difference, if possible.

If you use a bright color for such a bright part, it is now better to use a completely dark color on the brighter part.

Because the large area has been integrated into the whole, and the middle area has been added to the whole degree, and the saturation is enough that

In a state like this now, even if the small area is not saturated, the potassium difference alone is enough to emphasize it.

Therefore, black with this accent color can also be sufficiently emphasized, right?

If these pastel doors use black as a line element on top of the yellow, there's certainly another way to emphasize it.

The contrast between the color and brightness of the cast is clearly on me using a completely low saturation black, making this part more definitive and higher.

So when using the accent colors

The casting color and the accent color are darker and the contrast is brighter, so now you can use the accent color medium again.

Again, since the saturation of the primary and secondary colors is used very low, it's good to use the soon system of emphasis colors to emphasize it.

Generally speaking, it's better to use complementary colors that will stand out more.

There are also cases where solidity must be used in large areas.

By the way, because the saturation is started in such a large area of laying, the saturation of large areas is very high in terms of visual balance

It is the most difficult color match in the color scheme.

If you use a large area of solid stone, you can rest with no color first in this medium area.

The area is very large and already stands at high altitude, so it's better to relax a little bit with less saturated colors to balance it out.

It's better to put something like black or white clearly.

so dark blue.

This way white emphasis is better, solidity, if brightness is high, it is better to drop to black in this way.

And it is better to use complementary color in the accent color part if you distinguish with object color in this way.

So, if the casting color is slightly so bright, you have to use the complementary color, but you must use the occupancy in this way so that it is indeed distinguished.

When the main color becomes slightly green, the bear occupancy when using the accent color purple can be clearly distinguished.

And although it's not a good situation, there are cases where large areas are saturated with saturation and the middle area is also quickly saturated with saturation.

On the contrary, if you must use this solidity, then, since you have to use the neighboring colors, please blend a little bit, which is balanced.

If the purple is used here as well, the fact that the contrast is already enough in the figure with the color

Even if some stable interior design is done, it can become too strong or the colors can flow in an unintentional direction.

So if you use neighboring colors in a medium area, it's better to use point colors to make sure you use object colors.

The overall saturation has been oversaturated.

It is better to choose a choice from black and white for the difference in brightness with the primary and secondary colors.

For example, if the adjacent color has a solid color of light green and yellow, then always use the object color when using the point color.

You have to use black to fully emphasize it, or blue or a darker color like red if it goes in

White works well as an accent color.

There are also cases where you paint large areas in white

with colorless painting mostly as an easy way to match colors.

Since the time to do color matching, can write such colorless on a large area, instead of the design design help a lot.

If you use a large area of the aggregate map, you can use a little bit of saturation in the area that occupies a medium area, or you can use it freely.

So in the part of the design that occupies the middle area, the color that does use solidity is the exact emphasis of the color scheme that

should be some sort of the most communicative and effective way to carry out the design with the best and most effective color scheme.

For example

After adding rape color to the base color of the object color, like the ribbon part, the medium area is immediately drawn to the eye. That's what it means.

In this case, if you use the accent color, the saturation overall will be used too much if you emphasize the raw addition and then use the solidity.

At this time, do not use color to emphasize, use the difference in materials such as metal or gemstones to highlight the high gloss color is better.

A faded metal that slightly lacks saturation compared to a deep yellow can also be adequately emphasized.

There is also a way to emphasize the middle area with black when a large area is used in white.

In lieu of color, the brightness is emphasized by holding a medium size by value contrast.

Soon, just like with saturation, there is enough emphasis on the value contrast to be obvious.

In this case, the highlight color can be used freely, and for large areas we omit the saturation that

Whatever color is added to the accent color, it actually fits well.

Also, if you use a medium area of gray, the difference in brightness is a softer way compared to the main color.

Large-area objects and medium-sized objects

Something that reduces the difference in the color scale is balanced in morphology if the design differs a lot.

Again, the system in this case is an overall saving in use, so whatever color and accent color emphasizes the color, it does not matter much on its own.

On the contrary, because the overall color is light, so if possible, the accent color will be well emphasized if the color is dark.

And black is also one of the many immature colors to choose, almost the same as white.

Be sure to know that it's very easy to match colors starting with painting most of them with colorless.

When using a large area of black, it's not difficult to mix two with a medium area of solid

The part that takes up the middle area does change again, so the most effective way to emphasize the object, right?

At this point, this emphasizes the color darkening from the main color and lowering the overall flow by a factor of two.

What to count at this point.

Colorless bright colors

So it is better to use white as a highlight color to emphasize.

If you use up some of the colors that have color, saturation will soon develop in the small and middle parts.

A little bit away from the black part.

So, if possible, it's better to use white with an accent color.

There is also a way to use white instead of medium when the large area is black.

The same when the white area is emphasized with black, with a contrast of brightness values to emphasize the middle element rather than the color.

This is again like writing on solidity, which is indeed emphasized here.

This is the same case, because saturation is overall very economical to use.

No matter what color is used to emphasize the color.

On the contrary, when the intermediate ratios are between black and white, they blend steadily together.

And this method can be used very ably, using black in the wide areas slightly slightly chicken.

In a medium area, the black side of the way like the daughter has a darker, shiny material difference.

Books are a way to naturally increase the color density of medium-sized objects, rather than the differences expressed in light such as gloss or reflection.

So the colors are almost the same, but in a way that is implicitly emphasized, so it becomes a simple application of the way I like the North Korean maiwai.

In the twinkling of an eye

with a slight material difference emphasis like the Lotwailer character.

With such a large and medium area, the emphasis world is now free to use saturation soon if it gives a difference to some dark colors.

Cancer has little to do with color or income, but saturation should be high if possible.

We can easily apply reflection angles on the intermediate objects and the overall color is very dark and

Like transition colors and accent colors and things like that, it's nice to balance it out with a brighter color, please.

So, go here and look at what the character design needs for the ship world.

This completes the silhouette and composition content of the character design to some degree.

Again

These design theories don't have a sense of character design as

because of what is needed when you do it logically or when you want to modify your design in a better direction.

If you can't understand all of it now, hopefully you'll read it again later when you need to.

Whether it's character design or other illustrations, the sense of composition and color seems to grow slowly with each work.

After a while

If you see rough spots with the composition in a painting you are working on now or in the past, then you can assume that it has grown enough.

Let's start working on formal figure design sensors together next time.

I'll follow along with the practicals as opposed to the theoretical content, so by now there's no more script than the lecture

The description should be abbreviated, this person did this, ah, did this idea.

Repeat what I said last time, or add something that I can't explain.

I'll do that as I go along.

It would be nice to be able to just take care of it.

Listened to a long lecture, hard work. I'll see you next time.