Original subtitles

Hello.

This time, we worked with the sketch that we worked with some time ago, first Masato, and Sanae

In the character body color, we will color the shadows on the basis of the lighting settings and carry out the initial felling process at the same time.

First of all, some of you are a bit unfamiliar with the term primitive fetching process.

In the character illustration, this color this stage is not carried out from one head to the other.

Generally speaking, the brush size is getting smaller and smaller, and the tonal differences are getting less and less detailed description.

Therefore, as a rule, a large brush is used to indicate a simple structure, after the application of light

Later, use a small brush to release this part or add some details so that the whole illustration is finished.

So this is the time to make the color of the shadows to adjust the color of the illustration, so it is very important.

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It is the time to express the sense of structure of each object, so the time is the most important part in the character illustration time, although it is the shortest.

So, let's do it according to the illustration we prepared last time.

First, we performed a microflow until last time.

After that a shadow layer will be added, but sometimes the color will be painted as steady as it is now.

If the "unborn" is a bit dazzling, so for color schemes with multiple primary colors, we do not need to apply the shadows directly.

Paint it so that no shade is visible.

So, in order for us to be able to temporarily paint the shadows

Let's create a white layer and then distinguish the shadows separately on top so that we can composite them later on.

Now instead of using the second line layer, please take it for now

It duplicates the original layer, the aesthetic image dragged with aluminum glass.

In this state, see the transparency of the layer.

Here we have colored gray

It doesn't matter what color should come out, it's roughly painted white.

Press Alt Delite, and then paint the topmost layer.

Please help me cut.

There's also a slightly darker gray, so decided on a gray so dark that it's close to black.

When initially proceeding, the light direction of the shadow is easier to break than expected if you want to depict the shadow of this object.

So, let's consider the lighting direction first.

It's best to paint the shadows and the roster a little bit larger depending on the light coming from there, and think about what the age is.

So, the color itself is now very white.

So, if our shadow area becomes too narrow, it becomes even harder to describe this inner shadow.

brightness, so that the light and dark races slightly through the central anisotropy.

It's okay to paint a little bit bigger.

The more negative the painting is from the beginning, the more difficult it is to be bold next time.

The more daring you are at the beginning, the faster you can revise.

In this way, when the line through which the light and dark race passes becomes set

Now, use the eraser and the brush to fine-tune the shape of each shade that has the reverse advantage of light.

Because of the thought of coming from this lighting, set the shadows larger as well when you clear them.

Because there are these references below, so definitely refer to the instrument a little bit more, right?

shows a non-reaction.

The latter details can be fixed later, so don't focus too much on whether the overall sense of structure is present.

Play with whether the form is broken. Just look at this kind mainly.

Now, if you start with a big cross to sort it out, then now, zooming in a little bit on the details that

Please zoom in a little bit so that I can see the area in July at a glance.

And it doesn't matter if it's divided into two tons

Gradually refining the appearance of the shadows.

Like hair

00:05:15,748 like the face when it goes into more detail that

Just zoom in a little bit and smudge it a little bit finer, finding a sense of structure as you paint.

At this point, press Haiti with the brush, do not bring gray, and generally make sure to write on the removal.

And for this business card race the further I get away from this hand all the descriptions have to be a little more careful

So we shouldn't add these shadows in

If possible, start by looking for light and dark in this neighborhood.

Just trim it a little bit and carry it out a little bit.

Like painting comics, almost two tons.

Overall, additional tones will be added later, as the colors are retouched

It's best to omit too fine a part to proceed.

We only have half a face.

Let the light in.

Look again here, if the cheeks of the forehead eyes and nose are expressed when this is completely erased

The face will flatten out a little bit.

I remember that only the nose part glows.

When the shaded area gets wider, the

A little later, when I was watching after the first bee, when you touch the subtle tones

The dark fortress is about to go in.

The human earth departs warmly, and the thought of filling it again is good.

Off-line is a bit simple, like the terrain and other different feel more appropriate.

So don't just put business cards in places like this

In the unbroken line

Add a little bit more shading.

In this case

because the middle money is needed later.

This is where we have to put it, so it's better to take the next step than to fish carefully now

And also painted the lady partly

Inside and Kim Jong-hyun almost full of shadow is better.

Even if it must be shaken out later

I'll turn around and cover it.

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Need to check around the previously working layers and move forward together.

In a way, if the start phase is over, then from now on, inside the bright side

Or add shadows and bright surfaces inside the shadows to give a slightly more sense of structure.

That's how tight it is in that case.

If we go too boldly into these areas.

00:10:48,848 and the rain direction is broken more and more, as carefully or as well drawn as possible.

Often removed later.

Just like this main shade now

When the dark color disappears, the shadow area increases more than expected, so the light gradually breaks up.

So it's best not to go in right now.

Put a bright spot when

If you enter too much, the shaded area will decrease, so the initial setting is

The direction of the rain will gradually break.

Step in and be a little more careful with your support.

If you can catch two saws for the first time, catch a little more chase sound from now on.

From now on it's the brush pen next to the splash, if there's a tip, there's a person who uses the brush in this way.

There are times when slightly loosening this little brush

This so-called light and dark border serves to issue relatively clear and soft things in the painting.

Therefore, if we divide this part so carefully, it will be difficult to show the other clear parts.

Thus, if shading is initially added after bichromatic (as in the original version), when adding a tone

Try to raise the brush as large as possible and then not drop the brush, the screen.

to catch it.

So release it. And add it to the middle.

What kind of area to do that makes me feel better about what must be caught in the luck.

Because it's shady here now, so it doesn't need to be unraveled explicitly.

If the shadows are wrinkled like these parts, please don't draw here with lines.

Or make it

to set the shaded area.

So, we pull out the original shading color, the

It's not too heterogeneous to overlap with the existing shadows

And the more touches, the more you have to deal with in the next step, so if possible, without dragging your hands

Adjusting with the necessary cloth is the way to cleanly recede the color.

Such a rounded section that

Feels like adding the area of the triangle, starting with adding the shadow first.

So fuzzy zigzag-like places

Add one more face to the words.

which is particularly important.

It's about drawing wrinkles with cotton.

Don't be in a hurry to draw with lines, think of the area of the triangular mirror in this way

Add the first beech grass ton.

It's usually best to confirm where the clip is before you go in.

In general

structurally complex things, like clothing folds and the human body.

In the first bee bloom, there are often many fine triangles entering.

After adding the shadows, the "Clear" filter is now enabled.

As with adding shadows, in the details, especially in the light and dark races

Once the ground is wide

is erasable.

Places like this.

It's good to clear it again to reduce the tonal differences.

So, don't just color here, just think about starting the application from the outside.

The more you can touch it up, the more you want to

to be divided above the world becomes softer.

Erase your shadow

You can control the money to a tee.

so that the shades inside don't get too boring to touch once.

For example, this interior

The face is too dark, it can't be too dark, so shake the shadows a little bit bigger.

You can see your face turning sideways.

With a triangular area like this.

Now this shade concentrates most of the density on this side, and this side is the opposite of well.

So this part should slightly erase the whole of the shadow.

So go to the Quick Mask, put on the Gradient tool, and apply a gradient once on the side opposite to the direction of the light.

At this point, the gradient can't be this short.

A little farther.

The shadows toward the direction with rain will be caught slightly if set hard before the race.

Release the repair mask in this state.

Press down to snap to erase the area, or if you want to make a fine gun

There are also ways to slowly erase.

And, if there is such a large area on the detail, this large area will do the same.

Selecting a larger area part for the hat.

If you erase this part also to the larger side with the poem

So cross out three here, more contrast than the boundaries of the command does not work.

After a slight erasure, you want to leave about a ton of difference on it.

If the medicine is too severe, press "Undo" immediately and then check again.

It is better to do the larger parts in a forward manner at once.

If the choice is a little bit difficult, we now survive the

Go to the layer below and select this part to specify it.

In this state, the

Give me an exit location, and hair another choice.

Need to tilt this part down slightly.

Cape section

A little bit lighter.

Facial part

Slight removal of the neck part

It will be hollowed out for you.

So there's no need to erase here like that necessarily, even from a distance

Because slowly it's just erased like that

Don't want to blow up too greedy too.

And this part is also a little bit shaded, so it will be given like a little bit.

The bare side.

If a shadow like this is caught, it's a little rough, but it's like a gray pizzo, if it's painted to a certain point

think you've done well enough then you can.

Slightly clear the bottom from the whole and set the shadows to be centered.

In this state, we need to focus on three more layers that

like shadow aggregation, where objects are in contact with objects

Where the light is too narrow to interfere, a shadow, called a closed shadow, appears.

The shadows of the path become the darkest tones in the figure, and with the addition of these shadows, they can be rendered a little more realistically.

You can see that this is the part where the

Lower side of the cape

And 70,000 on the inside side, I think.

Or we put the hair inside the hair with a black crayon, or like this.

With the pen fit you can add a face a little bit weaker.

It's okay to enter a very narrow area, so you don't have to paint so wide.

Think it's okay to just set how much area.

Anyway, when we were describing the bailout

is the automatic release part, so it doesn't need to be too detailed.

These parts

One click at a time

The facts after that can add a little more feeling, I guess.

If with the objects and the shadows of the objects

It's okay to put thicker parts that you think are thicker.

So, the shadows are spread from a certain part of the

It is best to proceed as if it were coming out.

Add a little more shading.

The hair comes unraveled from the side and slightly unraveled on top.

I'll stick together if I can't separate the shadows in this part.

Add some more shading.

The lights will touch.

Adding a little more light.

Need to cross.

So in terms of the current state, there's no reason to start dying now.

Cut the gray next to me and cut out the original layer.

Clear the gray layer, please.

This closed drawing of me, now confirmed a bit in the way, so temporarily masked when.

We'll paint the background dark.

A slightly darker gray is 1 view

Put on the paint and touch the color again with this standard.

The light is going this way.

The side where you can't see the light is this way, but there must be blue light present in this part, so the shadows must be flooded with blue.

Synthesize it into multiplication.

In addition to gray, decide on the color of the shadows.

Here black is the feeling and light without illumination is the benchmark.

Determines the brightness of the ambient light in terms of luminance.

The light adjusts the wavelength to saturation.

Lock it in transparency and change it to elite so that it's composited to blue.

controlling the difference between what we originally set and the color that

First make overall adjustments until the desired color appears.

If you do it here, you can turn on the automatic selection that is Conti.

Please make up a number.

Select for me the part that corresponds to this bright color, and it will be the only bright color that you can select.

Please slightly illuminate the part of the shade that corresponds to these light colors.

Instead, select all areas of the darker

which darkens the shadows.

Overall matching contrast.

And then for example the skin, please make a choice

To make the tone a little more red, please adjust the color by rain.

Add a little bit of brightness, pink and yellow.

And then a little bit brighter and less saturated now.

Naturally makes a difference to the skin and the color.

I'll do a little bit more.

There's no other money is made by Dolby.

Here, to produce something more transparent, make the shadows brighter.

Hopefully something a little bit stiffer will darken the shadows a little bit.

The color is now set when the illustration is finished

That one is almost brought to the final color, so it's best to touch it carefully now if possible.

The colors are harder to modify than expected, so it's better to keep the colors set now carried over.

Overall, increasing the saturation a little bit.

Temporarily, we'll paint the blue on the background.

Please confirm that the color is appropriate.

Overall

If the green is a little bit closer, except for the black part, and you want to get white

Selecting only the black part.

Press the Control Shift child to invert the selection.

In this state, you make the paint agent a little brighter, the

Increasing the saturation is fine.

Note in particular that even with just a slight modification of the skin

Because the colors change so much, try to, if possible, at this stage

It is better to adjust it carefully and cross over.

and then halfway through, close and open this detail layer.

It would be nice to confirm that it's not giving too much refinement to the industry when this light is behind.

Then open the closed shade layer and change this to a color number.

The color palette is a composite that makes the color unconditionally darker while increasing saturation. Now paint with black and reduce the transparency of

Let the blue tones add up naturally.

Then draw a control clip on the shadow layer.

If you press the boxing to the child of the shift, the area where the shadows are blurred will now become selected.

Creating a new layer in this state, the

After the cut, the

I decided to add some blue-toned highlights, here, blue

Can't be too saturated, but instead choose a blue-toned color and paint it with Alter-Deli.

In this state with overlay compositing would naturally add 8 tons.

It's hard to adjust the saturation in the middle if you add too much into white at this time.

Suggest lowering the progress to make it slightly brighter.

Then cut the line drawing afterwards.

This becomes well organized and no longer visionary.

In this state, please live long in the shadow layer, only the part of this game as a backup to the poem

The best saturated colors, such as skin

Instead of blues, black and red tones, the

Please let me pass.

Presenting forms naturally.

And then back into the layer that

Refer to the like reason to run it in black now.

The painting is now blue, so the saturation of this blue tone

Set the low white, like know, paint the city for elite, and then put the composite in a straight line cloth.

The recipe is different from the color stick, completely darkened le cotton therefore, so that the redecoration of the package together then, my color will change

synthesized from black to blue tones.

Touching the colors little by little.

Please make this black plate a little bit of blue tint in the white part.

On the skin, when we get into the blue tones, we have a hard time inferring that there's a blood color

Clean with the colors we can use.

These colors when we do the official coloring

will lose, so just touch the bird a little bit.

And this bright spot

Overlaid with white to lighten it up.

In the dark, the left side is silver.

So, rather than looking at the temple at this stage, let's continue to look at the colors that

It's best to double-check that the illustration is completed according to this color.

Is the bottom side brighter compared to the original image?

Press this cue to select only the bottom as the quick masks that

Control 1 replication, the

Only this part will be darkened.

The saturation should not be too high.

So bring the saturation down a little bit.

And this internal

Now it's convenient to make the tune in advance, so it's only covered once with shadows

Issuing substitute exams for you, etc.

Regular

Also with details.

If the skin is too raw, things can change.

That is, adding the rules back in.

In this state, if it seems that the illustration can be done all the time

In this state, my columns are grouped up for easier use.

In my case, if you go to Legal and merge the layers together

If you want to modify it a little bit, don't stop, you can do it by stacking a layer on top of it.

Copy this layer down and I'll combine it.

Now you don't need to see what's below.

You can remove the color and portray it as mainly friends that

First, you have to do the

As we did when we shared the shadows, use the light and dark borders as a reference, and release slightly from the slightly unnatural areas.

At this point, the initial brush used should be larger.

So, make the part with stairs like this a little bit clearer and re-distinguish it first.

Sell the mixer and let the darkness separate first.

Because the pen pressure is on, only a little bit of color will be covered.

At this point the stacked color, when we do the detailed description, please just add a little bit more to depict it.

And then shrink the brush down a little bit.

Again, just like painting a very large area.

Add a little bit more tint.

But, when we first started, there wasn't much description to do, because we used to split some faces

Join this crease without trying to unravel it.

It's good if you want to find a sense of structure and make a shadow.

The folded part is hard to show later if there is no shadow.

These sections

Using the colors on the picture, the

Hardheaded

Early thought would cut off the shadow shape

So, I used more than three blends of touch that

There's no reason.

It does have this sense of structure.

At this point, the

This picture book is a celebration of the content that

Not to put it out, but when you find the figure model first, please make it a terracotta figurine that

Instead of detailed texturing at the end of its hair.

Be sure to wear the wrinkles and muscles of the dress so that it's better.

And it's better to have the outer part of things a little bit darker.

It's best to make the outside darker.

The object will be more complex, when needed.

On the fly, I personally would split this process twice, and if I omitted this process and proceeded with

longer than we thought it would take.

And the current process is a way to shorten the process time later, so shadows will be specified.

In the next stage, we only think about whether the two parts are smooth or clear

Focus on releasing it.

00:43:03,447 And at the beginning, we turned those wrinkled areas into a side that

should let the lines disappear naturally.

These parts, the parts that are fried with cloth become cotton and have to be removed.

These parts that are represented by lines turn into faces, so they are going to disappear.

You've played the role of a cautionary tale

Look for things that don't need to stay on the cloth anymore.

The hair can be piled up with this part, but like the fine lines, there's not much shadow on the lines that

We'll have to organize that.

Face too

A little bit of detail.

Surfaces like this, when slim

Make a little bit of a surface for the shadows, and that leaves the next step of the release.

So overall, there's no picture clumps where there's no indistinguishable

where there's no noise it's indistinguishable from the part that's inhabited with shadows.

Continue to separate and note the effect rest.

Pay special attention to the parts of this color that are stuck together

It is better to specify which parts are lightened and which parts are darkened, rather than lines.

In my case, the shawl is necessary, so lighten the back a little and

Continuing to take the tape apart from the periphery

Because this part is also.

Keeping them separate.

with the obligatory shading applied inside.

Live use of mutual outlining.

Slightly darker tones

If you put it in, it will help when you release it at a later stage.

Careful with the smaller painted area.

to shape a fine whole.

Also, be sure to compare the before and after.

Also, enough shades of green I divided to the extent needed for the next step then you did a good job.

If this picture gets messy and the outline is broken than the direction is wrong.

Will check again.

There should be a tonal difference in the part that is clearly folded.

Even this one can't be put in this state

The area of shade 1, which then splits into faces

Find a little bit more sense of structure.

And it seems like it's important to proceed very roughly as a whole.

to do a partial description, which is not too late later, so relaxing the shading a little bit at the beginning of

Sort out the mess when you can go in and partially describe it.

The post-background won't break big and release to this state

After the grasp is carried out, if you think the completion will increase, just think of it as the first penalty stage up to here.

The depiction from the later look.

So when we really get into the sense of structure of a depiction target, we usually get progressively smaller in the larger brushes.

As the tones gradually go from large to weak, the increasingly clear descriptions become softer, gradually looking for a true description.

Next time we'll take a look at the skin where color is important, using the structure of a large object

Where it's more important for us to describe things like clothing lines, so let's just focus on that part for a little bit of this description.

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