DWDD University - Albert Einstein (2013) - full transcript

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Good morning.

This is Illustrator Sorge.

I've been a big fan of casual pictures since I was a little girl.

Mix my subjectivity, omissions, additions and subtractions to a specific object.

I loved the process of re-birthing it.

And the technique used to do this is called deforming.

The French word "deform" means to change the shape of an object.

In the casual style, you can show your own individuality.

It's a really important technique.

This time, before the real class.

Let's look into deformations.

I've just explained briefly that the form of a certain object changes.

Here's a simple pictorial explanation.

It's like the surface of a hair.

You can change a rough surface to a smooth one.

Or maybe you can combine all the separate chunks into one big chunk.

Or an object that is a series of circles, squares, and triangles.

It can be said that there is a way to transform and exaggerate any object.

In a word, through the transformation, reduction, and distortion of factual objects

You have to draw it out.

To put it simply, think of it as drawing a character as a character.

Speaking of actual casual drawings...

A lot of descriptions are omitted.

Even if it's just the first face you see.

Teardrops and nostrils of real people.

You can see that the eye holes, the bottom of the nose and the thickness of the lips are omitted.

Same for the body.

The actual shape of the muscles and bones that appear in the body is quite abbreviated.

It is very often expressed in simple terms.

So would omission be the only deforming technique?

That's not true.

Eye Size, Eye Shape, Hair Size

The shape of the hair, the proportion of the human body, etc. are using deformation and distortion.

Thus, in order to use deformations extensively

We need not only omissions, but also transformations and distortions.

Come back again.

Do you remember the circles, squares, and triangles I just explained to you?

If I were to make a series of objects like this

Deforming and distorting is called deforming, right?

Like circles, squares, triangles.

Let's start with basic shapes and learn about deformations.

If I tell you to draw a circle, triangle, or square first.

Draw many true-faced figures like this.

I'm going to draw it again with some deformations.

This is how I drew the figure.

These figures have a one-dimensional form, and

It looks impossible to omit more than this.

But even with the same figure

In this way, through transformation and distortion

You can add deformations.

What's important here is that I'm pushing this circle from top to bottom.

Pull this corner.

The fact that we drew each side with a different size suggests that

The point is that the basic shapes and concepts remain the same.

And this is the deformations I'm going to explain and teach.

Think of it as a very simple contraction.

It's very simple.

Now that we've learned about simple transformations and distortions through shapes

This time, I'm going to show you how to deform through actual drawing.

Here's a female character drawn in a live-action body.

I'm going to try to reinterpret this with my own deformations.

First of all, this picture shows all the sides of the face.

And all the hair is described in every ending.

A clump of hair.

It doesn't look like a figure.

And the human body is also expressed like a muscle.

It looks exactly as it actually is.

Here's what I'm saying, through transformation, reduction, and distortion

I'll sketch it again.

First of all

The abbreviation comes from the face first.

The cheekbones are embossed on the drawing.

Her face is long and narrow.

I would shorten the length of my face to give the impression of cuteness.

It also emphasizes cheek meat for cute impression.

And the size of the eyes is exaggerated.

Omit the nose line and lips.

Easily match the proportions of the face and the position of the eyes and nose.

And here's the important thing.

It's not just about facial proportions and facial features.

Deformations are also added in facial expressions.

It's also the one that draws the smiles and laughter that usually come to mind when you think of a vibrant character.

This is one way to make use of casual characters.

So here, I'm expressionless now.


I'll draw you a laughing expression like this.

If it wasn't for the fact that I really had to deliberately draw a blank expression.

I would like to make the best use of the character's personality that you draw.

I like the way you give him a look that suits him.

After sketching the face, I sketch the head.

Have a basic headroom.

When you draw a face here

You used a lot of ellipses and exaggerations, didn't you?

Here is where we work on matching up the chunks.

If we look at this

I'd say you're describing her hair almost every time she ties it.

Grab this like it's one big shape.

It fits with the character's lively impression.

It draws a puffy head.

The clothes should blend well with the hair.

I'll try to draw it fluffy.

Wrinkles are only partially drawn and omitted.

This is how the sketch was completed.

How is everyone doing?

Do you know what deformations are?

The technique I used while painting this picture is

First of all, the face is reduced, or omitted.

And the size of the eyes, exaggerated.

And the hair.

I lumped it through the reduction.

Through reduction and exaggeration, distortion, etc.

I made sure to draw her hair.

And clothes, there's a lot of wrinkles here.

Here we have reduced the wrinkles a bit to 1~2.

I boldly omitted the rest of the wrinkles except for the big one.

I'm going to make a sketch like this, and this time I'm going to open up the lines.

When you take a line, there's an important thing to remember.

All the lines have to be drawn very confidently.

There's a line called "hairline".

I wish I had a line like this once in a while.

In casual style, line drawings are more prominent.

If a line like this were to progress from head to toe.

That picture was very different from what I intended.

It looks like a picture of unconfidence or

Or it may not look smooth.

So the first time you take a line

If I'm going to be using hairline all the time...

I think it would be better if you practice drawing lines in your hand warm-up first.

I'll take the line away from the face.

When you take a line

The goal is to pull it all together, if possible.

I'd appreciate it if you could pick it out.

Because these fast and concise lines are also

It has a lot to do with the impression of the casual body.

Match the character's cute impression.

In a round shape.

I'll open up the line for you.

I'm trying to make my eyelashes bigger.

It is possible to form a definite shape.

The reason why I draw these eyebrows so big, like spikes.

This is to make it look better on the whole screen.

When you draw a picture and show it to others

Those people are in the form of a hundred faces, a hundred whole screens.

You look at your pictures first, right?

And if you like it, you can zoom in and see it.

I'm sure many of you have observed the pictures in that way.

So, when you look at the whole screen, the impression is very important.

No matter what kind of picture you draw

Keep another screen on the whole screen.

Does it look better on the whole screen to draw it yourself?

If it's too small

If you look at it based on the whole screen and it's too small

I hope you can grow it.

If you think it's too big

It doesn't blend in with the objects around it, and I thought it would stand out.

If you can reduce it, it's fine.

This way you can get a maximum objective view of your picture.

Or how my picture looks in people's eyes.

I can figure it out.

Always keep the whole screen on the side.

I recommend drawing a picture.

Now take the hair line.

I'll give you a detailed lecture as I go along.

Casual knitting is

First, when the sections are different from each other, like the face and the hair.

You can make these surface lines a little bit thicker.

The line in the middle is a way to put in a thin layer.

It will express that it is a lump.

In this way, even if it's just a line drawing, the form is very vivid.

At first glance, a sense of weight and space may be formed.

At this stage

So I always take the line

You have to be very careful to separate these strokes and sections.

The line is open.

And this kind of hair that appears on the surface is

Definitely, I'll twist it in more like this.

So each shape is very rhythmic.

I'll draw a line for you with caution.

And the texture of the hair is better than drawing all of it.

I'm going to ask you to enter with some abbreviations.

And later, when I take them all and color them.

It's much cleaner and prettier.

Compare with the original picture.

My hair was a little crunchy, thin and hard.

It's thicker, more curved, more bound.

This is how I'll catch it.

And like this kind of hair, it's a little bit different than the traditional thickness.

If you put a thin thickness of hair in the middle

If you can keep the hair, it's very rhythmic.

It's a beautiful picture.

So I'll try to open up the line by adding a few of these things.

And as I draw the line.

This is how you don't pull it off from start to finish.

I'm drawing the lines some distance apart.

I'll explain this later.

Just because it's hair---.

If we repeat the process from the starting point to the end...

It could get very boring too.

Followed by hair and face.

Clothes are also different sections of each other, so here too.

I'm going to open it a little thicker.

This part is the actual picture.

It's like a rubber band, but it's uneven.

I tried to make it look like a spreading flower.

Bright and lively deformations

This is how I completed some of my knitting.

Can you tell the difference a little bit?

Where did I use a certain deformation?

What did you shrink, what did you transform, what did you exaggerate?

Now, this character is a character who is standing still.

It's expressionless.

That's why I drew her in a standing still pose.

To be honest, the pose could be more daring.

You have a scowl on your face here.

I'm gathering my body... or something.

It can be exaggerated and transformed in such a way that

You can say it's part of deforming.

I'm going to add some color here.

To get the color in, if we do this, the color underneath

Can you see the shadow lines sinking into the surface?

In the form of a triangle.

Where it bulges, it bulges, and where it twists, it looks like it twists.

I need to know if I've done a good job of deforming.

When I poured the colors in this way

You can see what happens to the line that loses the table.

If it's a little stiff, or if it's coming down a straight line...

I think it's a little lacking in this kind of cute and dynamic feeling to the pictures.

This is how I finished the color scheme.

I'm going into the coloring.

Honestly, in terms of coloring.

It's a little hard to apply things like transformations, omissions, exaggerations, and distortions.

Because there is no right answer for coloring.

The method I'm going to show you is more of a deformed coloring method.

Through the use of brushes and coloring techniques that best suit this style of painting

I'm trying to make better use of the deformations I added.

Let's try to color it.

The skin comes in first.

You can see the picture here.

With a technique like watercolor painting

You can see the thin tones piled up.

This is how I do it, one step, two steps, three steps, four steps.

And rather than putting in more steps than that

I'm going to abbreviate it a little bit, and just put in one or two levels of shadow.

I'll describe the rest with something different.

So when I'm coloring, the first description I put in is

It's a shadow.

There are some shadows that are very clear, aren't they?

Like under the neck, or behind the ear.

Or your forehead touching your hair.


Put the shadow in these areas first.

I have to admit, I don't touch my face much in casual pictorial style.

We can say that almost all the shadows are in.

And add

Snow and stuff

Add light and dark.

Even in places like eyebrows.

Add a shadow.

I'll put a little bit in the nose.

I think the lightness and darkness of your face varies from picture to picture.

That's about it for me.

Without spoiling the simple impression of your face.

They're in.

If you'd like to see my face with more makeup on it...

You can take more steps.

We are so cute together now.

In a picture body with a lot of deformations.

The lightness and darkness of this face becomes a little narrower.

Because I think it's more visible.

I purposely abbreviated it.

I'll add some brighter colors so it doesn't get too muddy.

And the shadow at this time

Rather than going in factually, it's a little bit cute.

The shape of the figure and the way it comes in is very cute.

Maybe the overall harmony would be better.

I finished coloring the skin easily.

I'm going to put my hair in.

Especially without changing the light direction.

It is in this original picture. This one is the most highlight.

Light and dark will be added by following this part.

Some color.

Add bright colors that come to mind when you think of casual characters.

You'll see what I mean when you see me color it.

In this original picture

It's not that the light is so clear.

Just like using an airbrush.

It has a very gradient look to it.

I do not use an airbrush.

Hardness is the hardest

You can use the cell brush to

I'm focusing on the area where the shadows are gathered.

I'll boldly omit the rest.

I'll make use of the simple feeling.

This is a simple way to see that now when I color

I'm reducing the lightness and darkness.

And now we've got just one level of light and dark.

If you look at this area, this is where the light is coming in the largest.

There's a little bit of relative darkness here.

We'll add just one more level of light and dark.

If you look at the light and dark shapes I'm putting in now.

This is the shape of the nib.

Here's why.

Of course, you can put it in thin like this

The shape of the figure that I conjugated when I stood up is

There is this kind of triangular brush feeling.

It's like a brush tip pen nib

In the same way, when light and dark come in, you can use that form to

This is put in to give uniformity to the form.

And when you add this second light and dark

I don't want to bury all the light and dark that I put in at the beginning to some extent until the end.

By only including some parts of the file like this

Again, the density and the feeling that this lightness and darkness has.

I can make use of it more brightly.

So this is how I'm going to make my head light up. To the second degree.

I'm going to color my body this time.

Clothes are just like hair.

The shadows spread out all over the place and split into several.

It almost binds them together and colors them so that they are easy to see.

As you can see, it's not what it looks like.

It's very spread out, this kind of light and dark.

They are painted together in one shape.

And the direction that this wrinkle is going is

Each one is in a different direction.

So what does that mean?

This outfit and

This outfit and

This outfit and

These all have different shapes.

And we haven't gone along the last line of this line.

It's more unique.

Rather than following this line.

It's in a different form.

This is also an important part when you want to draw something a little more lively.

Because the light and dark you can simply put along the surface line are

I find the pictures very breathtaking and easy to read.

So I'm going to do my best not to follow this tip line.

Instead, it's the one that respects the direction of the light.

So you can put some lightness and darkness into the clothes.

Just one more step.

I'll just add one more step, like hair.

This second light and dark is not so much a copy of this one as it is an exact duplicate of it.

In a slightly different way.

Now I'll describe the eyes at the end.

Speaking of casual pictorial style

I started to look at her face first.

There again, we tend to focus on the eyes.

Because that's the only way to make it shine the most in the picture and

It's a conspicuous part.

So, honestly, this eye.

As I told you before, there is no right answer to coloring.

It's not that my method is the only correct one.

I just have these eyes.

Can you see it clearly on the whole screen I just mentioned?

I'm the one who draws while concentrating on it.

The part I want to show you is my face.

The eyes are a little blurry on this face.

Or it's not in focus.

Or if it looks a little different from what I intended.

I knew that when other people saw my picture

Wow, your eyes are really bright in this picture.

The picture gives a good impression, doesn't it?

Since this kind of feeling might be conflicting

I just pay attention to that part and put it in for you.

So this picture, when viewed from the maximum distance

I'm going to focus on the fact that this character's eyes are clear and visible.

I'll try to color it.

So, the picture is not only the different parts, but also

The face is very divided, isn't it?

Even though all the other parts are similar.

If the picture of the face is different

It's recognized as a different picture.

It's also a good way to create your own unique face.

Continue to decorate the eyes.

And finally

I'd put a shadow on the white eye.

You can express eyes with a little depth.

And after the basic description...

Here's a highlight for you.

I'll make more faces for you next time.

First, go back to the head.

It doesn't matter what order you draw them for reference.

Just make it easy for me.

I'm putting light and dark in my hair.

Now, the figure I caught in my trap.

This is a little different from the actual picture.

The actual picture is crushed like a wave.

I'm getting the feeling that the direction is like this.

I'll simplify it.

This is how you put the light in.

At this time, as the light is not confined to only one color

Choose a slightly different color to put in.

I'll do some more organizing.

Not in the original.

If you distribute the light, it will shine in various places.

That's how you can guide people's eyes.

It can give you a beautiful impression like when you see a shining gemstone.

I'll distribute it a little more.

Especially in a dark area like this.

If you highlight as a point

It stood out so much.

Don't just look at this far and pass it by.

I've seen this far, and there's more I can see, so look.

You can guide the flow of your eyes to the inside.

We can easily get in so far.

And for the clothes.

I don't have any major highlights in my clothes.

along the direction of the light to some extent.

I'll put it in faintly.

Because honestly speaking, clothes are

As long as it's not a really sparkly dress.

It doesn't make the highlights look very good, does it?

Even if I lose to Honoka

So, rather than just using the technique that I have on my head

In a less conspicuous color.

I'm just going to adjust the direction of the light coming in a little bit like this.

The rest are the ones to omit.

I'll describe it to you so far.

And here is

You put the blue light.

So I'm going to add a little bit of blue to the edge of this light and dark area.

This will give you a gradation of colors.

And the ball is flushed.

Utilize the vitality of the face.

So when you decorate your face.

If you approach it like you're making up a character.

Very nicely done.

Add eyelashes. ...or...

They put blush on me.

Or like a little lipstick on your lips.

This is how I keep adding tones and descriptions.

Okay, here's how it works.

It's not as bad as before, with the addition of flushing and such.

My face is much brighter now.

So much for basic coloring.

I'm not going to finish this right away.

This is the way to change the color of the line to match the color of the object.

Black is achromatic, isn't it?

So if you have a saturated color, you can use

It may not match with these colors.

The black lines are not clearly visible.

It's a little disproportionate to the object.

So I don't always finish coloring right after I finish coloring.

Match the color of this object.

If you change the color of the lines like this

It's not attached to here, it's separated.

The face is now a little more colorful than before.

I'll modify the hair to match this.

And finally, some clothes.

This way, even though we haven't added any special effects, we can use

The color became a little more gorgeous.


I don't want to end it here again.

Because when I color, I get a little line.

That's how much visibility can die.

I'm going to finish the first round of coloring like this.

I'm going through the process of correcting it again.

At this point, you should have the whole screen up.

Fix it according to whether you can see it clearly or not.

My eyes just changed color.

It's a little clearer now.

I'll fix that part first.

And in this process

I'm going to change my eyelashes a little more clearly.

They'll also add more.

I'll include the red tide.

When light enters the eye, the center of the eye shines, right?

I'll add that feeling too.

If I do this, before I do it clearly

I'll get to this later.

Changed a little.

The same method is used for the rest

The part that was buried

I had to make sure I could separate them.

I think it's very important to focus on that.

I'll fix it.

So the moment I think it's completed like this.

It's very important to move up one more layer and adjust it.

It's the fastest and easiest way to improve the quality of your work.

So add a little bit of hair texture.

I'll do more description.

I'll try to colorize it.

There's a part where I go in with a little less organization without even knowing it.

Then, when I modify it, I'll add this layer

I'm going to give you some more organization.

And the highlights, cut them in moderation.

Rather than connecting them into one

You can put in a lot of different chunks that look like they're merging together.

So much for the face part.

Go to the throat.

Same as the other part.

As I've been organizing

The parts that aren't organized yet need to be more solid.

The buried part again.

I'm trying to make the most of the parts that need to be expressed, but can't be expressed well.

Repeating this all the time, we get

I'll fix the picture for you.

So, instead of using this method

Those of you who do coloring and finish it right away...

Be sure to add a layer, and inspect your picture again.

We recommend working on enhancing the detail.

So the part where the object meets the object.

You have this part.

I'm not sure how to do this, but I'd like to see it done.

Since the morphological power of each part and so on can be bought

Exactly this kind of part

If you find it a little difficult

If you make only the part that touches the object darker like this

The picture is very clear.


Finished the coloring repair work.

This is me.

This is the later.

This is a very simple picture.

When I turned it off and then on, a lot of things didn't change, but

The whole body is drawn or

There's a background.

If the picture is posed a little differently

You will experience so many changes in this process alone.

And here's the last one.

Color correct the picture and you're done.

I think the correction methods are very diverse.

In my case, I uploaded the soft light first.

After making the color feeling gorgeous.

By color number

Because it's certainly better to be dark than to be light.

Bake a little bit to add the difference in brightness.

You can see the difference, right?

This is before correction.

This is after correction.

And really lastly, one more overlay up.

I'll make the bright shining part a little brighter.

This way, I can say that I've shown you all the basic process of painting.

And about deformations.

I think I explained a lot to some extent.

To sort it out again.

For a cute feeling.

Rearrange and transform the eyes and nose, and

I exaggerated the size of the eyes and omitted the nose and mouth.

This kind of hair can be made by merging clumps of

You can get a lot more of a graphic feel out of this.

It worked like a charm.

Yes, you're right.

Carl seems to be more alive here than here.

And the same clothes match this hair's fullness.

This is how a bumpy shape looks like.

It's transformed into a puffy shape that's easy to understand.

I also wanted to give the color a little more resilience here.

I went in with more saturation.

Sketching, line drawing, coloring, correcting like this

So you can say that I added deformations in almost all four steps.

You can think of this as a process of deforming.

What is deforming and how was it used in this class?

Do you understand now?

Then you've understood almost all of it.

Also, the deformations that I have shown you throughout this class are

This is my own method, not a method that applies to everyone.

Maybe the people who have drawn several times. And the way to write.

That's the correct answer for those people.

So even though the picture is different

If I were to paint a picture through transformation, reduction, and distortion

That's going to be deformed only for you guys.

Don't be afraid to use it a little more boldly.

It's very important to draw a lot.

And in my class.

We can help you find that way more easily and quickly.

While actually looking for my own unique deformations.

Learn and establish a casual picture style.

Let's go through the process of developing it.