Original subtitles

Hello.

This time, let's learn how to draw more three-dimensionally on the character design.

Until the past time, everyone must have used various concepts and keywords to catch the character design xian.

Now, when doing character design illustrations, the

Let's see how we can plan the illustration better with a more three-dimensional sketch.

Personally, I'm particularly interested in drawing when

in character design, looking at faster movies, or presenting objects in a more structured way.

Although these stereoscopic drawings are not required, character design often creates problems in some flat drawings.

The character designs we drew were drawn flat, so the outer lines of the drawing

There are almost always cases of design.

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So we need to perceive and draw the space that

The space is not the size of the pixels of this canvas, but the three-dimensional space

It needs to be used.

So, by turning a flat design into a three-dimensional design, you're actually adding a dimension that

So as this dimension grows, we are in the space

more props can be placed, so the viewer can see a more diverse flow of sight.

so the person drawing can put more props on the character design.

The person looking at it has a sense of the depth of the drawing, so they can look at the design in a more interesting way.

When you think of these three-dimensional drawings, you think of many of them as using perspective perspective.

In fact, if you use laws such as the perspective yard, you can show a realistic three-dimensional look, so it's a little bit difficult, although it's really good.

We don't need to write in the character design illustrations, but near and far superimposed that

or overlaying the direction of the target.

Or, just think of the object in a more three-dimensional sense of structure or something like that, and the illustration will come out fully three-dimensional.

Conversely, using excessive perspective perspective and perspective techniques can lead to distortion.

It is difficult to show the character design well.

For example, parts designed to have a larger area may become smaller.

Or, the design may flow in an unintended direction, such as details that need to look small become larger.

So, as long as the shapes can be three-dimensional to a certain extent, but even that's a little bit difficult, just understanding this space that

Fixing the layout or just removing some of the flat elements from the character design would also be nice.

So many people are struggling with why their drawings are flat.

So, let me talk about why this flat design.

Often, the diagram looks flat because of the focus on drawing the target as an outline.

In the process of symbolizing something that is not human-looking or object-looking, we usually use a lot of line drawing.

For example, when you draw five fingers

If you have a way of concentrating at the beginning, instead of drawing it as a clump

The design or drawing is likely to be flat.

So, when you start drawing these lines with faces, it's like covering the size of the target or the target

You can use some perspective.

For example, when drawing things like fingers, if they are drawn separately and overlapping, it means they look more three-dimensional than when they are drawn on a flat surface.

And then putting a shadow between this face and the face that

In the overlay, you can highlight the sense of space between the object and the object, making the object more three-dimensional.

It's great if you think that the moment these shadows start to enter, the light shows up, and the moment the light enters the space shows up.

For example, by adding a layer of shadows between the fingers, you can show that the fingers and the fingers are not stuck together, but separated.

And it's the shadows that make the faces three-dimensional, and when you can draw shape shadows, the target will be more three-dimensional.

The target is no longer a flat object, but a polyhedron.

So, before drawing the shadows, you might wonder if there is a way to look more three-dimensional in the drawing?

At this point, instead of looking at the target canvas as a plane, write the overlay, write the abbreviation that

It is best to try to take advantage of the sense of depth given to our canvas and consider how to paint it.

So when the character's props and back are also viewed and drawn in three dimensions like a movie exercise

Illustrations do help to be more three-dimensional, but if even he's a little bit difficult to

Find out why your drawing within a drawing is more flat

Getting rid of those things will work slightly better and give the illustration a greater sense of depth.

Often, these outlines and contours appear if the novice is mostly unaware of them in the drawing.

Or if it is difficult to show the distance of the object, there are ways to superimpose them in this way and actually make a sense of space.

Or, the more you can push the three-dimensional representation to the periphery, the more you emphasize the sense of structure of the object.

Sometimes, if you're not aware of these things and place them in the middle, you'll have some problems with the picture looking flat.

These three-dimensional representations

By applying a more three-dimensional approach to the design, we can interpret the illustrations more effectively, right?

So, let's find out how to fix illustrations that are made flat in a more three-dimensional way.

Generally, what's illustrated now will be reflected a lot in your illustrations as you make changes.

First of all, when you have these examples, which one do you think is more three-dimensional of the two drawings.

Personally, I think this illustration is a little bit more three-dimensional than this one.

First of all, basically, if you look at this illustration, there's the outline part.

This way, if the peripheral hands are used up, it's with the character

The target is here

It's hard for us to put into words whether it's here or here, effectively.

So it says here that these red lines are tangents

Once we have the tencent, it becomes the prototype that we make the canvas look very flat.

So when we want to draw these illustrations, find the tangents and remove as many of them as possible, and then stack them up.

Be sure to drop the clothes down to show that there's space between the objects and the objects.

I got permission from the origin section to bring a couple of illustrations.

As an example, in this illustration, if you see this section, you'll see that

The clothes are on the hands, the skin's hands are there, it's ending point more or less appears Tencent.

So, although the colors are now separate, when we express it in the drawing, there are definitely plane problems.

Looking at some more details.

Sections like this one, where the hand curl hand also ends on the same line, bring down the dimensionality slightly.

Or, if you look at a little more detail, as this hand continues, it makes the drawing more flat.

I tried to find these parts and take them out. First, I took this total section

to make the choice that

In this state, press control shift 1 and the layer will be so cut.

In this state, after the original version, drop down and slightly adjust the position of the target to destroy Tencent.

For example, when they completely overlap

The target may be somewhat obscured, so the gun can be clearly indicated further away in the plot.

In this state, if you move a little in the direction of the target

This shows the gun clearly while minimizing the overlap, right?

In this state, in the open space, now knit and breathe

to distinguish these chapters.

plus the total, the two layers, the fuzzy, so shrink this section a little bit more.

was able to cool the distinction down completely.

Also, if there will be no sense of attack even in this state, you can use the color afterwards to reduce it.

This part is also somewhat blurred, the

Slightly increase the size a little bit and throw out this part and this part.

Click on the control offer to copy the target that

Raise a little more.

00:09:25,364 so that they move so that the hands don't overlap.

Go ahead and move it.

If these parts are cut out by habit, the completion of the drawing will naturally improve.

Thus, in this illustration, the outer hand part of the hat and the outer hand part of the glove are exactly that

It's so far away from here, so close that of course it's indistinguishable, and even then it's a strange distinction that

Let the targets overlap completely in the copy.

can indicate that the glove is farther than the hat, and in addition the hat

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Copy it again, cultivate it a little bit more, the

This way, you can use the overlay to show that the target peripheral hands are not touching, overlapping and spatial.

Since this is a very trivial part, people don't find it too hard to fix.

So basically when you're modifying the illustration, the first thing is to find Tencent and remove it.

is required to give.

What comes after that

When we're going to draw, even if you know what those materials look like, I'm trying to find exactly the same material as the leather shoes that I'm going to draw

Some people took a long time.

There were some people who were afraid of drawing three-dimensional objects

More three-dimensional

It's best to draw as if we're making the human body more cinematic, actively using the form of the target.

Don't try to paint along the outer frame of this goldfish.

If you look closely at this at all.

This torso has nine shapes.

The head is conical in shape, with a plate on top of it.

00:11:29,823 with a conical tail at the back.

In this state, the dead phlegm is divided.

Likewise, if you look at the following directions

Two and a half lanes of the board.

So, if you take these goldfish patterns for a second.

And then we keep it simple and we move it to this shape.

with a board attached to it.

The lower board is against the driveway

It's an individual of this form.

In this state, we further show the sense of structure, and if we look at the colors again, the object will be more three-dimensional

It won't be difficult to draw. In this state, when you express the structure further, the eye sticks to it, the

The broiler is folded in front and narrowed at the back of the form.

And the posterior cone also splits downward and the sides separate.

The lower one is also trimmed with a pointed form, etc.

It is better to practice drawing shapes first and then move the target in three dimensions.

So, when we want to draw these things as three-dimensional

If you practice drawing objects in order on the high shadow first, and then look at them from behind

The cone on the tail

is the shape that covers the body.

with a plate attached to it.

Please stick one after another with one hand, not treating the object as a stick, but drawing the forms of military service at different angles.

Or, if you look from above.

the cone of Formula 9.

with cones behind it, too.

The plate seen above would be drawn very thin, and the acidic stuff stuck to the bottom, so it was quietly obscured by the

and it would appear like this.

Or from below.

has its shape.

The cone behind is not here, it's further away, so it's obscured, the

Right here.

Most objects are drawn from simple eyes into shapes, and then affixed with a sense of structure in the order that

Easier to draw than one might think with all the props.

I drew the object as seen here, so this part was shortened and

This part is extended, showing the shortened extension then, to express this sense of space, right?

And the fins on top are covered by the torso, so it's okay to be far away and not have to draw.

I personally think that by two terms

Not often, but one day he really liked to draw two human objects.

Usually, those painted objects were often squashed, or like horses

Something that could be used as a painting prop someday, if you can't paint these songs, it naturally lines up with this concept.

More attention-grabbing. I think that's what narrowed down the picture design that

thought of a lot of easy ways to draw.

After drawing the target from multiple angles this way

After that we use red color to indicate the structural part of the target.

Cut out the front.

Cut off the back. Cut off here, too.

Cut off the side

Phrase tail

Said to be divided into several ways of fighters with different names.

Left ventilation very much like goldfish.

I like to draw a picture so that the shape of the circle must come out.

So, if you start out by labeling the target in blue as a simple shape

then add a sense of representative structure and gradually flesh out the object.

Cut off the side, please.

Cut off the top as well

Cut off the bottom as well.

Add a little bit here as well, and you can see a little bit of fleshing out.

I want to cut off the bottom

Cut the side for me.

In this state, if there is still a bit of detail to be expressed, that part can also be attached to the structure.

For example, the leaves, there are leaves that are folded from top to bottom, and the fishtail is also in two layers.

The ring on top is big and pointed.

Here's the

Nice fins leaning over the side.

And then to express these.

UNESCO also expressed Korea.

Sheung Wan

It has fins and fins and the mouth down, here, the mouth down.

The clam is two-layered and the fins are growing on the side like this.

Size of the side of the upper ring

with some kind of structure.

It would be difficult to draw well if the object of the article being disputed were to be drawn the same way.

Therefore, if you have an object that you are drawing for the first time, don't spend too much time looking for the correct information.

Wouldn't it be better to have a more three-dimensional view of the real information?

Especially some structural gadgets.

For example, tattoo machines and things like that are easy to draw, if you look for information, and then objects gradually enter negatively in the design

Little by little, the process of changing the form, changing the structure, changing the steps to get in better.

It's also hard to find the same composition for something like these beats.

Again, if you analyze that

The blue is spherical and above it is

You'll notice that these structures don't fly out one by one, but are distributed in a cone shape like this.

There's a small fire down there.

After that, if you ask for these irregularly

would be the grand prize for the performance of the standing song

Put the last bit again

If the stacking station is increased to the shape, then this bit can be used as an object that we can use more freely.

If you draw this sequence, the

with 9.

No matter which way we draw it, we draw it as a 9.

If the cone is standing there in the state

the parts will become more and wider.

If you look from below, you'll reach it.

Learn to see only the profile.

Instead of turning the target like this, we move to the position that

I guess you could draw it from a different angle of the Atlantic Ocean.

depicting the structure of the middle plains.

which are irregular.

splitting out.

intervals and curves.

Very irregular diffusion.

So these pictures and stuff like that.

It's really no fun to guess what you're having a hard time drawing, just do a little bit of work.

It's more fun to draw when you draw something that's easy to feel.

So, studying how easy it is for people to draw objects becomes a fun way to draw.

And then widen this cracked section a little bit.

00:21:43,669 and the vegetable that we call "light" can be used at will.

We used to draw the character design of the character in the headset

I also have material from the first time I read the article that

There are probably a lot of props that have not been drawn, or have been produced with ugly-looking details, but it's hard to draw such objects.

"Don't aspire to, what are the ways in which you can easily draw those vignettes?" Think,"

When doing creative work, choosing slightly more varied props is a little

If we draw the trunk in the middle again.

drawing something that spreads in the middle, you can express the object more effectively.

If you forget the order in which you draw this diagram.

with very low difficulty, and it will cost a little bit more.

Obviously, when drawing, it's better to focus on the process than to draw beautifully.

It's getting thinner from this part, so trimming that part a little bit thinner, the

Draw an object effortlessly.

This is the method included in most of the examples you intend to draw in addition to the one I presented.

Now you can practice drawing objects for the first time if you have this.

The flower crab, for example.

eggplants and so on, birds and so on, in fact, if we move the movie like this, it's material that can be fully practiced.

If you want to add a little bit, or if we put the human body in the second half of

You can touch the props slightly autonomously while emphasizing and narrowing down specific parts.

You can draw objects from multiple angles like this.

We can do the three-dimensional rendition more efficiently.

Maybe you've done such a simple character design.

This design like this

It doesn't matter if we go to the original drawing, but we can use a more three-dimensional approach when we draw the illustration.

For example, if the character is now wearing clothes and hats and things like that look good, this is definitely the part of the column.

Simply put, this would be the cone.

Take these

Since we're looking at it from a flat perspective, it will expand and be presented with a square and a thin edge, respectively.

In this way, the outline of the target

If you have a slightly flat drawing situation, it is best to show a more precise sense of form for these parts.

For example, when these columns start to shorten, the

While shortening in this way, this section with a surface, showing the section clamped with such a surface, the target becomes three-dimensional.

The ability to show more effectively

Also, when we say that these cones, or cylinders, the

Even though each stripe is so evenly spaced, in our line of sight

gradually getting shorter and shorter and shorter.

The drawing would look very flat if it were averaged as things are now.

Something that has these rotating surfaces that really shorten the direction of the target that

to show a surface, or to put those one-to-one objects

It's good to focus intensely like this and call it "money".

If this goes to the process of modifying the object, is there a way to draw a little bit more three-dimensionality when it comes to degrading and developing this design?

Think about that.

Now what I'm going to tell you is that in the process of modifying the image

Because it's a pretty big thing, it's usually a good part of the process to start thinking about it from the first time you draw the design and then proceed.

Let me just make sure that the parts that you're drawing are nothing flat either.

For example

Say this shadow word starts to enter the design then the sense of three-dimensionality will be greatly enhanced.

Which can be used first and these shaded parts.

There's definitely shading if you separate the target from the goal, and if you show these parts effectively

This way, we can separate the objects that are attached to the labels.

Putting these striped things on the ruler that we drew inside.

There's no shadow here, there's a shadow here, so it's separated and you can look at these things.

These things are very common in think board painting, we don't paint these shades, when we dig into the color village, or color painting

Adding shadows only to the areas that are separated, like the collarbone

The green passes by with this part separated, and this part is all there, and then drops the same so that a three-dimensional rendering becomes possible.

So I'm putting the shadows here now, so even though now the white doesn't have any shape to the shadows

And then in and out.

To do that, a target layer bus would be layered.

If something like a bracelet is attached to the body, there seems to be a lot of cases of a little tattoo, but the part that's a little far away from that part

It's best to consider adding shadows.

It is better to use these fine shadows in the sketch rather than in the sketch.

So something flat like these stripes would very much reduce the three-dimensionality in the design, if possible

To effectively represent three-dimensionality, there are ways to clearly separate objects, or write this with tone angles.

Stripes like hats can be put inside.

Another way to do it is to use the oil grass for the design, while removing it from the outside.

There are also ways to make objects more three-dimensional in structure by using holes punched in these things.

If everyone's design is not available, and the place is simply treated with a pattern, you may want to make use of her in such a drawing ruler first.

You can also take advantage of the sense of structure, when you see this figure, you see the request of the target

As the density increases, the sense of structure has emphasis.

So, if we have props to be displayed in three dimensions, we target the direction of eye to eye

The three-dimensionality will be greatly reduced if you look at it head-on, and twist the object in a slightly smaller direction.

Adding a little bit of side to my eye would convey more terminology from the drawing of the object.

So three-dimensional props and things like that.

So, for example, this friend

When you say "carry", you can look at each other with the unimportant decorative part of the word.

In this drawing, this is an important prop, if you need to show the keyword and draw it three-dimensionally, please put it in the direction of the diagonal line and add a little more

It changes the outline of the object, with shadows, so the drawing will be more three-dimensional.

So, if we put these designs a little bit later, the

I've done a lot of exaggerated things, and if these props and things like that go to the periphery

This side is the direction my eyes come this side slightly to the side in the same direction, the directionality of the target is different

Than this is the same as eating, one side is expanded while the other side is shortened, and the method of drawing is also there.

If you write this in the opposite way

Here of course there are ways to draw different directionality in a way that the circle and the sides look thin.

Separate things around like this oil grass and children separated like this, and put the swing then, the sense of space between the objects will be revealed.

If they look blurry, then the distance is a little bit worse that

This and this are called separated objects.

Also, if the top string looks too thin, the

There are also ways to add shadows thinly, even if the object is slightly thicker, and then to show it this way.

There are also methods that can be used a little more when drawing silhouettes.

For example, I got permission to bring in this picture

The painting is charming enough, but apparently a little bit unfortunate, like a silhouette.

As an example, if you see this silhouette of a cloak, it looks like it's becoming so thin that

thin as a hair, a ribbon, or a hem object.

It is an element that shows a short expansion, so it is ideal to use when three-dimensionalizing.

For example, when you draw hair, you would draw it as such a thin outline, like

This is what we're dealing with, something that doesn't have a sense of space.

This way the honest silhouette comes out.

But instead of this, we fold it slightly like this to show that this part gets thinner, this part gets thicker, and

This part is thin, this part is gripped.

It thins again, and then it thickens again.

In profile, the target is thick overall.

will become thinner and thicker, and where this thinning occurs, we will actually feel a sense of space that

These hem bow coats can be slightly floating thin objects, preferably with thin sections placed in the middle, a little thinner than expected.

So when you're drawing these coats.

Median price

Thinning and then thickening when this part, so this part is shortened.

In this part, the

Try to make the structured shape of the striations as dense as possible, in the wide aspect

Widen the spacing to prevent shadows from entering.

So the unfolded part of the reverse corridor this part, please slightly change the grain of the clothes and then draw.

00:32:39,824 And the part that's shortened is, you've drawn the dress pattern very densely, the

to show the three-dimensionality of this shortening.

If you draw it like this too, the clothes lines will spread out slightly, don't do that.

The middle is very thin, a little bit brighter color, a little bit thinner

to change the range of it.

When we look at it as a more three-dimensional object, the

this part gets shorter and this part gets wider again.

So this part can now be shortened, but when the clothes are tattooed in, things like bumps can be concentrated better on the shortened part

So, on the part that's extended like that

removing structural expressions as much as possible, the

Make the spacing larger

It is also the best place to use it in design.

There's also the point where uniformity is broken, so it's generally very eye-catching.

Need to make the end slightly pointed as in the original design.

When trimming the silhouette, do not want to have considered it in this way on the target.

For example, if the bump density is large, the

I think the shading will be dense in this area

The difference in expression.

This part is

Expand it well, at least make it a restable part

This ambiguous negative speech works very well.

Restrictions come in if you hang up

A slight continuation of the color, putting more wrinkles in the places that are shortened like this.

Instead of straining to put it in, the density of wrinkles will decrease from this part.

Then, Tencent appeared to be tempted.

Contributions wiped out

A little bit away from us, a little bit blurry.

Let these windows and windows really show up

Better show it in a straight line.

When moving something like this, press Alt on the control keys to determine the central soccer.

I want to rotate it like this, so if you turn the axis here, it will rotate around that part.

This is like hair, which is now commonly trusted by people that

The hair is thick, but it's better for this part to have a lower contrast to the knot expression.

When it gets thinner and then thicker

How to shorten it.

Focusing these descriptions as much as possible.

The otherwise part is to expand the interval of the fortress, reduce the contrast, and show that it is the extended form that is better.

Initially when drawing the clump, we draw it as a simple object, and then like drawing goldfish and clappers around it, in this state, the additional

to express the sense of structure is just fine. Let these individuals with a slight change in curvature

Just do this combination, it's a little steep here

The U.S. pops up slightly, and again, flat and steep again

There are places where this is used to add dynamic transformation of the target.

And the object looks too detached, so tying it up

This part was thick and thin, and again, when it was thick on the ground

than 1 to 1, this part of the bookcase thinned out and

moderately flat, steep, and

To obtain correlation, we may wish to include an object with moderate directionality.

As a side note, there is also a one to one or two here, which is not really much of a choice.

So, I removed this part that

seeing only one side.

I'll fix the model for you again.

It would be better to reduce this difference.

Even in this state, this size is now the face ball

And this pitching part is almost constant, so I put this part

control shift shear us.

More intuitive cultivation that

Better show me that plays an important role in this pitch.

And this part now has the birth after. There's something decisively erased.

If you see this, when you're working, I'm wearing it.

It's actually not a good choice, right.

Now it should be tapered. So this part should be a little bit more dense.

So this part is wider and more defined, but as it moves outward

the density becomes shorter, creating a dynamic silhouette that

Increasing the density of the wrinkles, decreasing the density of the

Kind of like a cone.

It would be good to explain that you run it this way.

On the face of it, with this part of Tencent.

There's not much to choose from, right. So, we decided

Tooth

Because there are many parts at the end of the night, but the dimensions are about the same, and the dimensions of this part are about the same, too

This part is a bit unfortunate, but please reduce it.

And this part is about the same size as this part, so it's cursing and swearing.

So, if this part is more important

Make a copy.

It's nice to raise it a little bit more sideways.

And this part is flexible, so it needs to be delayed a little bit.

And the colors don't stick together, so it drops to gold, immediately.

Adding a little bit more yellow clay to bring the continuation to life, the

Now here too, it's very, very

There is almost a long window, and the ratio itself is now very stable.

So when we modify these parts of the

A little bit less here, a little bit wider and then a little bit higher

Medium gives a better size difference as well.

This is a straight line, because in this state the bump itself is very stable.

So we're going to make some changes in that regard.

Cut it to the control soft offer, and then down

Need to change the angle a little bit.

Spread with a smiling body

If you switch to the outline of going out, the line of sight will naturally focus on this part.

And this part of the silhouette becomes simple, so cut out this part of the child that

And add a little bit more, the

I'll cut a tip for you so you can have a connection to the other parts.

The opposites are just drawn like this.

And then separate the bathtub next to it.

In this state, if you now see something that looks like a leg, both are drawn as definite shapes.

It's flat, there's no element to show the cylindrical shape

Now look, the window is also looking this way, the legs are also looking this way, and the head.

Because the overall sense of space is not actively used in the longer part when looking at it.

Therefore, we can show a little bit more of the perspective of this character if we choose to remove this part slightly backwards.

Cutting the tortilla to 10 degrees.

It's short.

And then shade this part

Leave in place

Better publish it.

Pull it to the back.

Pull this part back.

It's best to reduce it to this side.

In this state, if the air principal method is used, it will fall so white.

In this state, this is now shortened so you can show the material of the profile for these parts.

And then presenting the connected parts on the surface.

The big star is going backwards.

If you say, I want the sight to be natural.

Make this part not stand out

If there is a way to break it, if you want to break it, there may be a way to break it that simply emphasizes the cancellation of this part.

Compared to a window like mine, this part can't seem short, so let's put it a little bit longer.

Purple cabbage

And this part will be blocked, too

and the legs are glued too flexibly, and to prevent this, I made a little modification that

It's better to show the shield and the object with the legs separated in silhouette.

Put some more drawing and leak it out and give both bodies.

Like the usual drawing, although not a cartoonish representation of

When drawing realistically, the design composition can also be applied to a sheet.

This part also carries the colors and basic colors, so that the Hammerit is intentionally divided into the upper half of the

This part is also negative space and looks too blurry.

So, put this part

Need to add a little more to make the ball strain to reduce this part as well.

If it falls straight down, it will attract the line of sight like this.

This part is important, so it folds inward slightly.

There may be a way to separate the branches

Confirm this in front of the temple and see if it works.

Personally, I'm asking for Dawntanz to retire, but we want to

because there's no need to see most of the details.

In a case like mine, the

dry

Gradual thinning of the form

This emphasizes the design of this shield like a spear.

To show your shield.

There are also ways to make the inside very dark and separate it with color.

And this part is very, very

The density itself is homogeneous compared to the important part.

Inside, if you increase the window density a little bit

just slightly along the periphery, and then give a break to the changes that

It's Yuki.

The bottom is soon higher.

This part too

Here here look at this part very wide, this part is the middle, this part is the part on this side.

If you look at the black part, then when we raise the detail

This part is the part that has the best effect in terms of improving the detail

Able to perceive

After communicating little by little in this way, the process of touching the tone pose order in this way, it would be better if this painting went into the initial sketch.

It will cover up the description if you modify it later, so it's not a good choice.

Metallicity like this

And if you think it's a little bit important to emphasize a little bit more in the silhouette

There's no escape and there's no end.

It stands out too much compared to the overall possession of this atmosphere.

Depending on the location, this part

Fold again.

Showing the three-dimensionality.

Going to use the space.

Now this part is also rather vague.

The fix is not very interesting, if you know how to change the picture

Don't keep adding what you see when you don't know how to develop the picture.

It's best to continue to consider whether there's anything inside the composite here that can be fixed.

The changes are more intuitive than expected.

So, when you draw a picture, the

slightly visually looking person and working person can be done steadily.

I personally think this part is the most important, but that color contrast is a little bit diminished, and if it were me, the contrast is more pronounced in those areas as well.

Putting objects on objects that are significantly different so that they're precisely emphasized that

Otherwise the parts are a little less contrasted than expected

Naturally, that part of the view focused white can be created also very well.

So modifying the picture always from a distance, a little bit this part returns to the eye and is a little bit uncomfortable.

Conceptually, it looks good, but there are some regrets in the eye. It would be better to change that part straight across if you can.

So, we use this way that

apply what we've learned in design theory to fixing objects in three dimensions

In addition, we use the design principles and elements that we have learned together to

In synthesis, we practiced how to better repair our targets.

In the next few moments, before watching the character design pilot we worked on last time

Let's take a look at how to get to Beloop better and prepare for the formal character design process together.

Listened to Kim's lecture, hard work. I'll see you next time.