WEBVTT 1 00:00:04.500 --> 00:00:10.499 Animation Basics The Basics of Lines, Shapes, and Shading 2 00:00:10.499 --> 00:00:13.068 GCC Academy 3 00:00:25.773 --> 00:00:30.387 Hello, I’m Kang Ji-won, and I’ll be teaching the basic drawing course 4 00:00:30.387 --> 00:00:33.220 Drawing is the foundation of all art 5 00:00:33.220 --> 00:00:35.970 from simple doodles to cartoons 6 00:00:35.970 --> 00:00:37.656 animation, or paintings 7 00:00:37.656 --> 00:00:40.306 It's a step that must be taken 8 00:00:40.306 --> 00:00:43.596 before starting any visual expression 9 00:00:43.596 --> 00:00:45.746 It is the foundation of all visual expression 10 00:00:45.746 --> 00:00:49.576 yet it is also the easiest way to start drawing 11 00:00:49.576 --> 00:00:52.626 In this lesson, we will learn the principles of drawing 12 00:00:52.626 --> 00:00:55.626 that serve as the foundation of visual expression 13 00:00:55.626 --> 00:00:59.774 and explore techniques that apply these principles 14 00:00:59.774 --> 00:01:02.074 This course focuses on the purpose of drawing 15 00:01:02.074 --> 00:01:05.656 which is to create illustrations suitable for animation 16 00:01:05.656 --> 00:01:08.506 Therefore, after covering basic sketching 17 00:01:08.506 --> 00:01:12.220 we will focus on drawing the human figure 18 00:01:12.220 --> 00:01:14.470 In each lesson, we will study 19 00:01:14.470 --> 00:01:17.042 the principles and examples of figure drawing 20 00:01:17.042 --> 00:01:21.398 and practice techniques for applying them in drawing and sketching 21 00:01:21.398 --> 00:01:23.448 As the first step in basic drawing 22 00:01:23.448 --> 00:01:27.992 we will learn the fundamentals of lines, shapes, and shading 23 00:01:27.992 --> 00:01:30.342 In this session, we will explore symbolic 24 00:01:30.342 --> 00:01:34.972 representations such as lines, surfaces, and shading 25 00:01:34.972 --> 00:01:38.106 We will also learn the basic methods of 26 00:01:38.106 --> 00:01:39.923 sketching and shading 27 00:01:44.760 --> 00:01:48.260 Drawing is both the easiest way to create images 28 00:01:48.260 --> 00:01:51.000 and the most detailed method of expression 29 00:01:51.000 --> 00:01:53.250 It is the most basic method of drawing 30 00:01:53.250 --> 00:01:54.750 yet it is also a technique through which one can 31 00:01:54.750 --> 00:01:56.840 glimpse the deepest world of the artist 32 00:01:56.840 --> 00:01:59.240 The method of capturing visible forms with lines 33 00:01:59.240 --> 00:02:02.559 varies greatly depending on the abstraction and process 34 00:02:02.559 --> 00:02:04.509 when you start to establish your own standards 35 00:02:04.509 --> 00:02:06.520 the world of drawing begins 36 00:02:06.520 --> 00:02:09.970 We will explore the basics of drawing, including expressing forms 37 00:02:09.970 --> 00:02:14.200 with lines and creating depth through overlapping lines to represent shading 38 00:02:14.200 --> 00:02:18.300 In this lesson, we will cover the concepts of lines 39 00:02:18.300 --> 00:02:22.050 types of lines, the concept of surfaces, the concept of shading 40 00:02:22.050 --> 00:02:24.360 and basic drawing information through lines and sketching 41 00:02:24.360 --> 00:02:27.210 First, let's discuss the concept of a line 42 00:02:27.210 --> 00:02:32.698 A line is fundamentally a symbolic expression that represents the boundary of an object 43 00:02:32.698 --> 00:02:35.919 Three-dimensional forms are condensed into surfaces and surfaces into lines 44 00:02:35.919 --> 00:02:39.719 Therefore, in contrast, surfaces in drawing are formed 45 00:02:39.719 --> 00:02:42.200 by the overlapping of lines 46 00:02:42.200 --> 00:02:43.761 Among the countless lines in the world 47 00:02:43.761 --> 00:02:48.239 choosing which parts to capture and include is a matter of choice 48 00:02:48.239 --> 00:02:50.589 If you look at the photo you can see that the leaves 49 00:02:50.589 --> 00:02:55.279 that are expressed in a somewhat simplified manner 50 00:02:55.279 --> 00:02:58.800 Using Photoshop's cut out feature 51 00:02:58.800 --> 00:03:00.602 a boundary can be arbitrarily defined 52 00:03:00.602 --> 00:03:02.800 each leaf can be expressed in more detail 53 00:03:02.800 --> 00:03:04.900 or it can be simplified into shapes 54 00:03:04.900 --> 00:03:08.000 showing only the basic form 55 00:03:08.000 --> 00:03:12.839 If you look at the underside of the overpass here you'll see that there are more structures 56 00:03:12.839 --> 00:03:15.800 but many of them are omitted in this representation 57 00:03:15.800 --> 00:03:18.200 However, just as we can't draw every single leaf 58 00:03:18.200 --> 00:03:20.199 it's not possible to preserve every line 59 00:03:20.199 --> 00:03:22.399 The result of deciding what to select 60 00:03:22.399 --> 00:03:25.680 and how to simplify is the line in the drawing 61 00:03:25.680 --> 00:03:27.830 which makes drawing a technique through which 62 00:03:27.830 --> 00:03:29.639 we can glimpse the deep world of the artist 63 00:03:29.639 --> 00:03:33.519 It directly shows the perspective of the person who drew it 64 00:03:33.519 --> 00:03:35.319 That's why it is the simplest yet 65 00:03:35.319 --> 00:03:38.040 the starting point of all expression 66 00:03:38.040 --> 00:03:40.080 Shall we take the face as an example? 67 00:03:40.080 --> 00:03:43.330 The face is an area where even a small change 68 00:03:43.330 --> 00:03:45.239 can significantly alter the impression 69 00:03:45.239 --> 00:03:47.489 If we include all the elements of the face here 70 00:03:47.489 --> 00:03:50.559 it often gives a rather harsh or rough impression 71 00:03:50.559 --> 00:03:52.309 The result of marking all the boundaries 72 00:03:52.309 --> 00:03:56.600 with lines in the first image of this material is an example of that 73 00:03:56.600 --> 00:04:00.039 This is a shape that is commonly seen in people who are drawing figures for the first time 74 00:04:00.039 --> 00:04:04.679 It often gives a significantly different impression 75 00:04:04.679 --> 00:04:10.723 In this case, the smiling expression should be conveyed 76 00:04:10.723 --> 00:04:13.123 but if the area under the fat under the eyes is expressed as it is 77 00:04:13.123 --> 00:04:15.559 f expressed directly, it can look like wrinkles 78 00:04:15.559 --> 00:04:21.720 and if the eyelid is drawn as a single fold 79 00:04:21.720 --> 00:04:24.853 it can give the impression of sanpaku eyes 80 00:04:28.219 --> 00:04:30.319 When illustrating teeth, nostrils 81 00:04:30.319 --> 00:04:32.399 or the bumps on the nose 82 00:04:32.399 --> 00:04:34.949 people often tend to draw each detail as it is 83 00:04:34.949 --> 00:04:38.559 because outer boundaries are unclear, ending up drawing everything 84 00:04:38.559 --> 00:04:41.609 The face is one of the most frequently drawn areas 85 00:04:41.609 --> 00:04:45.509 but due to the many small contours, it is difficult to catch clear outer boundaries 86 00:04:45.509 --> 00:04:47.919 making it one of the most challenging regions 87 00:04:47.919 --> 00:04:51.600 It's difficult to draw exactly as it appears 88 00:04:51.600 --> 00:04:53.300 The nose is especially tricky 89 00:04:53.300 --> 00:04:56.000 If the nostrils are drawn too darkly, it can look comical 90 00:04:56.000 --> 00:05:00.960 and even if the nostrils are depicted, it can give a dull impression 91 00:05:00.960 --> 00:05:04.810 Even when the darkest elements are drawn 92 00:05:04.810 --> 00:05:08.360 why does it feel like it's less appealing? 93 00:05:08.360 --> 00:05:12.360 That's because the point we actually focus on when we look is not those specific elements 94 00:05:12.360 --> 00:05:16.329 If the focal points, such as the eyes and mouth 95 00:05:19.338 --> 00:05:23.838 and the boundary surfaces are drawn dark and bold 96 00:05:23.838 --> 00:05:26.688 When you vary the intensity of the lines 97 00:05:26.688 --> 00:05:30.279 Even with the same expression, it reduces the sense of awkwardness 98 00:05:30.279 --> 00:05:32.129 The contours of the bright areas 99 00:05:32.129 --> 00:05:35.199 For example, the contours of the nose bridge in the bright areas are completely omitted 100 00:05:35.199 --> 00:05:38.399 If you want to make it even simpler, you can refrain from using lines 101 00:05:38.399 --> 00:05:43.039 and omit parts like these, which correspond to lighter lines 102 00:05:43.039 --> 00:05:46.589 The sense of a drawing is determined by which lines are chosen and with what intensity 103 00:05:46.589 --> 00:05:49.000 based on what is visible 104 00:05:49.000 --> 00:05:54.440 Even though it's drawn from the same photo, there's a significant difference 105 00:05:54.440 --> 00:05:58.240 f we understand the function of each line 106 00:05:58.240 --> 00:06:00.540 knowing which ones to use 107 00:06:00.540 --> 00:06:05.209 the means of expression in drawing will expand in the future 108 00:06:05.209 --> 00:06:09.160 Now, let's dive into the different types of lines in detail 109 00:06:09.160 --> 00:06:11.860 This part is something many people who are 110 00:06:11.860 --> 00:06:13.959 interested in art would already know 111 00:06:13.959 --> 00:06:17.059 but since it's a concept that will be continuously applied in future lessons 112 00:06:17.059 --> 00:06:20.040 it would be good to keep it in mind going forward 113 00:06:20.040 --> 00:06:23.290 The two images in the material are representative examples of 114 00:06:23.290 --> 00:06:25.559 Art Deco and Art Nouveau 115 00:06:25.559 --> 00:06:29.409 These two styles are art movements that focus on the properties of lines 116 00:06:29.409 --> 00:06:31.959 either straight or curved 117 00:06:31.959 --> 00:06:36.640 Although it's clear at a glance that these are completely contrasting styles 118 00:06:36.640 --> 00:06:40.390 let's take a closer look and dive into the specific aspects 119 00:06:40.390 --> 00:06:42.839 where the differences lie 120 00:06:42.839 --> 00:06:44.838 Let's take a look at the keywords listed here 121 00:06:47.399 --> 00:06:49.699 Clarity, order, coldness 122 00:06:49.699 --> 00:06:51.527 inanimate objects, and artificial images 123 00:06:53.920 --> 00:06:56.593 these are all the associations contained in this style 124 00:06:59.474 --> 00:07:02.737 First, straight lines carry only the value of direction 125 00:07:02.737 --> 00:07:06.615 It is a simple expression formed by two points on a coordinate system 126 00:07:06.615 --> 00:07:10.765 Up, down, or from here to there 127 00:07:10.765 --> 00:07:13.296 Therefore, it becomes a very clear indication 128 00:07:13.296 --> 00:07:14.996 An image of items arranged side by side 129 00:07:14.996 --> 00:07:18.157 can also be considered a conceptual straight line 130 00:07:18.157 --> 00:07:20.257 Since most things expressed in 131 00:07:20.257 --> 00:07:24.068 perfectly straight lines are man-made, like architecture and roads 132 00:07:24.068 --> 00:07:25.959 they give an artificial feeling 133 00:07:25.959 --> 00:07:29.959 Because in reality, straight lines are only found in artificial objects 134 00:07:29.959 --> 00:07:32.167 It's really not easy to find straight lines in nature 135 00:07:35.721 --> 00:07:40.216 This means that it's hard to find straight lines in organic materials like plants and animals 136 00:07:40.216 --> 00:07:45.672 This gives a cold, inanimate impression 137 00:07:45.672 --> 00:07:48.959 The image on the left can be considered a poster that heavily emphasizes 138 00:07:48.959 --> 00:07:52.959 previously mentioned properties, effectively conveying the mood of the movie 139 00:07:52.959 --> 00:07:54.959 Now, let's take a look at curves 140 00:07:54.959 --> 00:07:57.206 Curves carry a lot of information 141 00:07:57.206 --> 00:07:59.706 Curves are lines formed by a collection of points 142 00:07:59.706 --> 00:08:01.593 heading in countless directions 143 00:08:01.593 --> 00:08:04.494 going this way, then that way, and so on 144 00:08:04.494 --> 00:08:08.444 It’s a line created by 145 00:08:08.444 --> 00:08:12.959 multiple straight directions coming together 146 00:08:12.959 --> 00:08:16.709 Because of this, curves feel more irregular than straight lines 147 00:08:16.709 --> 00:08:19.127 but they also give a sense of richness 148 00:08:19.127 --> 00:08:22.345 Many things that form curves 149 00:08:22.345 --> 00:08:24.195 often have a softer hardness and cannot hold a shape 150 00:08:24.195 --> 00:08:26.325 often have a softer hardness and cannot hold a shape 151 00:08:26.325 --> 00:08:30.345 curves give a softer feeling rather than a rigid 152 00:08:30.345 --> 00:08:32.873 Most of these, found in plants, animals 153 00:08:32.873 --> 00:08:35.098 and nature 154 00:08:35.098 --> 00:08:38.771 give an organic, warm impression 155 00:08:38.771 --> 00:08:42.692 The image on the right also depicts many organic materials 156 00:08:42.692 --> 00:08:45.892 such as lively women's curved hair 157 00:08:45.892 --> 00:08:52.642 vibrant leaves, and branches all of which are drawn with curves 158 00:08:52.642 --> 00:08:56.342 the elements corresponding to the frame are 159 00:08:56.342 --> 00:09:00.177 mostly depicted using straight lines 160 00:09:00.177 --> 00:09:04.771 Within the drawing, straight and curved lines are mixed depending on the desired feel 161 00:09:04.771 --> 00:09:08.421 As seen in the colors here Art Nouveau which features many curves 162 00:09:08.421 --> 00:09:12.474 often uses warm tones to emphasize the properties of the curves 163 00:09:12.474 --> 00:09:14.824 If you develop an interest in the beauty of curves 164 00:09:14.824 --> 00:09:20.187 exploring this art style could be a great way to deepen your study 165 00:09:20.187 --> 00:09:23.811 Next, let's explore the direction of lines 166 00:09:23.811 --> 00:09:26.741 The direction of lines is closely related to composition 167 00:09:26.741 --> 00:09:29.820 This is true when drawing individual objects as well 168 00:09:29.820 --> 00:09:34.632 but it is especially crucial when establishing the overall composition 169 00:09:34.632 --> 00:09:38.890 As mentioned earlier in the straight line section 170 00:09:38.890 --> 00:09:43.028 not only the detailed expression of lines in an object 171 00:09:43.028 --> 00:09:46.385 but also the arrangement of objects can act as lines in the composition 172 00:09:48.305 --> 00:09:49.959 then, a vertical line 173 00:09:49.959 --> 00:09:53.209 Vertical lines convey a sense of strength 174 00:09:53.209 --> 00:09:57.959 authority, danger, toughness, and height 175 00:09:57.959 --> 00:10:00.009 Since our eyes naturally have 176 00:10:00.009 --> 00:10:02.494 a wider field of view horizontally 177 00:10:02.494 --> 00:10:05.044 vertical lines tend to stand out more 178 00:10:05.044 --> 00:10:07.404 and give the impression of being imposing or upright 179 00:10:07.404 --> 00:10:10.959 rather than blending smoothly 180 00:10:10.959 --> 00:10:14.276 Because of this, vertical lines carry connotations of authority and danger 181 00:10:16.791 --> 00:10:20.163 Since strength is exerted vertically due to gravity 182 00:10:20.163 --> 00:10:23.237 it is helpful to associate vertical lines 183 00:10:23.237 --> 00:10:28.960 with imagery of strength and toughness as well 184 00:10:28.960 --> 00:10:30.960 Next, let's look at horizontal lines 185 00:10:30.960 --> 00:10:33.485 The horizon has information about the width 186 00:10:33.485 --> 00:10:36.851 As mentioned earlier, the field of view tends to give a balanced 187 00:10:36.851 --> 00:10:41.702 and stable impression within the sight, as both sides are wider 188 00:10:41.702 --> 00:10:44.831 Additionally, when it is wide, sound and strength spread out 189 00:10:44.831 --> 00:10:48.396 At the same time, giving a calm feeling and because the information of width is endless 190 00:10:48.396 --> 00:10:51.198 it sometimes gives a vast impression 191 00:10:53.594 --> 00:10:55.336 Diagonal line 192 00:10:55.336 --> 00:10:57.287 They are unstable 193 00:10:57.287 --> 00:10:59.871 Basically, when capturing the moment of movement 194 00:10:59.871 --> 00:11:03.811 or when the field of view is not standing upright like this 195 00:11:03.811 --> 00:11:06.128 When we fall, for example 196 00:11:06.128 --> 00:11:09.885 the horizon in our field of view 197 00:11:09.885 --> 00:11:13.207 would not be composed of vertical and horizontal lines 198 00:11:13.207 --> 00:11:15.366 Because it is a line that is frequently observed in such situations 199 00:11:15.366 --> 00:11:18.594 it is unstable but gives a dynamic and lively feeling 200 00:11:18.594 --> 00:11:20.944 Additionally, the nuance can be determined by 201 00:11:20.944 --> 00:11:23.485 the direction of the diagonal's ascent 202 00:11:23.485 --> 00:11:25.385 Typically, since our gaze flows 203 00:11:25.385 --> 00:11:28.198 from left to right in the reading direction 204 00:11:28.198 --> 00:11:33.217 the line moving from left to right either rises or falls 205 00:11:33.217 --> 00:11:36.693 like in the picture here, the upward and downward direction 206 00:11:36.693 --> 00:11:40.960 it's advancing toward the downward direction 207 00:11:40.960 --> 00:11:43.510 Through such directions, it is also possible 208 00:11:43.510 --> 00:11:47.960 to convey either a positive or a negative nuance 209 00:11:47.960 --> 00:11:50.960 In movies, when a diagonal composition is used 210 00:11:50.960 --> 00:11:54.475 it is often seen in action scenes 211 00:11:54.475 --> 00:11:57.982 or unstable suspense scenes 212 00:11:57.982 --> 00:11:59.960 typically in very dynamic or tense moments 213 00:11:59.960 --> 00:12:03.415 In painting style, the thickness of the lines is inseparable 214 00:12:03.415 --> 00:12:09.267 Let’s take a closer look at each one, focusing on the function the line serves 215 00:12:09.267 --> 00:12:12.960 First, thin lines are based on the premise of intricate expression 216 00:12:12.960 --> 00:12:16.960 Thin lines are used to delicately outline the shape’s contours 217 00:12:16.960 --> 00:12:21.158 Because they are thin, they are mainly used for curves, giving an elegant image 218 00:12:21.158 --> 00:12:23.788 An example is a scene from the manga Innocent 219 00:12:23.788 --> 00:12:27.267 a work characterized by an aesthetic style 220 00:12:27.267 --> 00:12:32.617 To express each delicate detail 221 00:12:32.617 --> 00:12:34.198 one by one 222 00:12:34.198 --> 00:12:35.990 very thin lines are used 223 00:12:37.792 --> 00:12:39.594 Next, thick lines 224 00:12:39.594 --> 00:12:44.158 Thick lines are characterized by a simple and clear function 225 00:12:44.158 --> 00:12:46.876 Bold lines are used when you want to give 226 00:12:46.876 --> 00:12:50.069 a strong and impactful impression 227 00:12:50.069 --> 00:12:52.148 The same goes for drawings 228 00:12:52.148 --> 00:12:56.960 Because they are thick, straight lines or simple curves are mainly used 229 00:12:56.960 --> 00:13:00.792 An example is the style of American animation, which is representative 230 00:13:00.792 --> 00:13:04.960 but it is also frequently used in cute character designs like Hello Kitty 231 00:13:04.960 --> 00:13:07.960 Here, it is used for clear expression 232 00:13:07.960 --> 00:13:09.960 stability and simplicity 233 00:13:14.069 --> 00:13:16.416 Next, lines with a large variation in thickness 234 00:13:19.207 --> 00:13:22.693 Lines with a large variation in thickness are characterized by vitality 235 00:13:22.693 --> 00:13:27.743 Additionally, the proper balance of line omission 236 00:13:27.743 --> 00:13:31.663 and emphasis based on light and shadow can give a three-dimensional feel 237 00:13:31.663 --> 00:13:33.863 If you look at this, for example 238 00:13:33.863 --> 00:13:36.960 the volume of the hand is clearly felt 239 00:13:39.287 --> 00:13:41.574 It is an appropriate line for expressing the human body 240 00:13:43.792 --> 00:13:46.442 It is also an important aspect, as the control of pressure 241 00:13:46.442 --> 00:13:48.960 can indicate the skill level of the drawing 242 00:13:50.613 --> 00:13:53.713 Therefore, in this course, we aim to use lines 243 00:13:53.713 --> 00:13:56.812 with appropriate variations in thickness in the right places 244 00:13:58.603 --> 00:14:01.970 Next, lines with little variation in thickness 245 00:14:01.970 --> 00:14:05.712 Lines with little variation in thickness are used 246 00:14:05.712 --> 00:14:08.712 when a clear marking is required 247 00:14:08.712 --> 00:14:11.564 They function similarly to straight lines 248 00:14:11.564 --> 00:14:13.564 It is often used in animation 249 00:14:13.564 --> 00:14:17.217 For 24 frames per second, the lines should be consistent 250 00:14:17.217 --> 00:14:19.567 so that the movement is recognized naturally 251 00:14:19.567 --> 00:14:22.900 without any jerky transitions between the frames 252 00:14:22.900 --> 00:14:27.970 It is also a line commonly used in most animation because of this 253 00:14:27.970 --> 00:14:29.470 when used in illustrations 254 00:14:29.470 --> 00:14:33.623 It also gives a harmonious and organized feeling 255 00:14:33.623 --> 00:14:36.860 It is great to use in illustrations 256 00:14:36.860 --> 00:14:38.930 with many objects and complex backgrounds 257 00:14:40.653 --> 00:14:43.900 Next, let's learn about the concept of planes 258 00:14:43.900 --> 00:14:46.000 A plane is a detailed concept of a line 259 00:14:46.000 --> 00:14:50.079 It expresses volume and spatial sense more naturally 260 00:14:50.079 --> 00:14:55.069 It also reflects detailed characteristics of form, such as texture 261 00:14:55.069 --> 00:14:59.732 As you can see here, the bumpy surface of the rock 262 00:14:59.732 --> 00:15:03.882 the smooth texture of the petals, and the texture of the grass 263 00:15:03.882 --> 00:15:07.376 if each of these were expressed with lines, they would become planes 264 00:15:09.782 --> 00:15:13.801 When lines are placed wide and intricately, they become planes 265 00:15:13.801 --> 00:15:16.271 Conversely, if the plane is simplified focusing on 266 00:15:16.271 --> 00:15:18.693 the boundaries and outlines, it becomes a line like this 267 00:15:18.693 --> 00:15:21.443 Drawing mostly uses lines 268 00:15:21.443 --> 00:15:23.702 but it is more accurate to perceive 269 00:15:23.702 --> 00:15:28.653 the size and arrangement of planes rather than recognizing the shape through lines 270 00:15:28.653 --> 00:15:35.953 The process of perceiving a shape is subdivided in the order of 271 00:15:35.953 --> 00:15:39.821 visual information to three dimensionality to shading to planes and finally, to lines 272 00:15:39.821 --> 00:15:42.971 Since lines are a microscopic unit after points 273 00:15:42.971 --> 00:15:47.584 it's better to think more about the larger planes and surrounding areas when drawing 274 00:15:47.584 --> 00:15:49.384 For example, when drawing a circle 275 00:15:49.384 --> 00:15:52.237 if you start by recognizing the shape of a circle 276 00:15:52.237 --> 00:15:55.587 and then focus only on drawing curves with the same curvature 277 00:15:55.587 --> 00:16:00.900 the result will be different, right? 278 00:16:00.900 --> 00:16:03.100 If you focus only on drawing the curve 279 00:16:03.100 --> 00:16:07.504 it will result in an oval shape, a distorted circle, and so on 280 00:16:07.504 --> 00:16:09.564 The same goes for drawing 281 00:16:09.564 --> 00:16:12.264 So, drawing without recognizing the planes is 282 00:16:12.264 --> 00:16:14.980 like proceeding without a rough sketch 283 00:16:14.980 --> 00:16:18.455 In short, you need to look at it broadly 284 00:16:18.455 --> 00:16:21.505 When you focus only on drawing lines 285 00:16:21.505 --> 00:16:23.455 the output will be something like this picture on the left 286 00:16:23.455 --> 00:16:26.772 This won't be very helpful for practice 287 00:16:26.772 --> 00:16:32.472 Developing the habit of recognizing planes by their area 288 00:16:32.472 --> 00:16:34.871 like the picture on the right, will help improve your observational skills 289 00:16:34.871 --> 00:16:38.712 Observation is the most important part of drawing skills 290 00:16:38.712 --> 00:16:41.504 Focusing on details comes after that 291 00:16:44.039 --> 00:16:48.693 Shading is a detailed concept of planes that indicates the degree to which light is received 292 00:16:48.693 --> 00:16:52.871 By adjusting the brightness of the planes, depth and three dimensionality are determined 293 00:16:52.871 --> 00:16:57.643 The degree of shading determines the atmosphere and realism of the drawing 294 00:16:57.643 --> 00:17:01.217 Shading, broadly speaking, is a gradient 295 00:17:01.217 --> 00:17:04.267 but it can first be classified into six stages 296 00:17:04.267 --> 00:17:07.475 highlight, light areas, mid tones 297 00:17:07.475 --> 00:17:10.960 dark areas, reflected light, and shadows 298 00:17:10.960 --> 00:17:16.692 First, the highlight is the part where light directly hits the object 299 00:17:16.692 --> 00:17:20.445 Therefore, when expressing it, sometimes the original color is 300 00:17:20.445 --> 00:17:23.475 completely hidden, and it often turns white 301 00:17:23.475 --> 00:17:26.108 Next, the light areas are slightly brighter 302 00:17:26.108 --> 00:17:29.821 than the actual brightness of the object 303 00:17:29.821 --> 00:17:33.702 Following that is the mid tone, which is the widest area 304 00:17:33.702 --> 00:17:40.643 The object's original color and brightness can be seen in this middle part 305 00:17:40.643 --> 00:17:43.623 Next is the area where light doesn't reach 306 00:17:43.623 --> 00:17:46.823 This is typically where the shadow of the object 307 00:17:46.823 --> 00:17:49.772 is formed, the dark area here 308 00:17:49.772 --> 00:17:51.872 Next, reflected light may 309 00:17:51.872 --> 00:17:54.237 not appear depending on the object 310 00:17:54.237 --> 00:17:56.960 and depending on the light 311 00:17:56.960 --> 00:18:00.310 However, it is expressed to enhance 312 00:18:00.310 --> 00:18:02.168 the density of the object 313 00:18:02.168 --> 00:18:06.722 It is the light that is created by the rays reflecting in the direction of the dark areas 314 00:18:06.722 --> 00:18:10.910 It usually appears on materials with a glossy texture 315 00:18:10.910 --> 00:18:15.237 but it is less likely to form when there is only one light source in a dark area 316 00:18:15.237 --> 00:18:18.138 That's because there is no reflected light 317 00:18:18.138 --> 00:18:20.376 Next, we have shadows 318 00:18:20.376 --> 00:18:24.881 A shadow is the darkness that forms on another surface due to the obstruction of light by an object 319 00:18:24.881 --> 00:18:27.554 Shadows are darkest where they touch the object 320 00:18:27.554 --> 00:18:31.227 and gradually become lighter as they extend further 321 00:18:31.227 --> 00:18:34.465 This characteristic changes depending on the direction of the light 322 00:18:34.465 --> 00:18:36.514 First, knowing these six stages 323 00:18:36.514 --> 00:18:41.314 will not cause much trouble when doing sketches 324 00:18:41.314 --> 00:18:44.178 or expressing simple drawings 325 00:18:44.178 --> 00:18:51.424 By emphasizing these four stages 1, 3, 4, and 6 326 00:18:51.424 --> 00:18:54.395 you can effectively express 327 00:18:54.395 --> 00:18:57.771 the three-dimensionality of an object without difficulty 328 00:18:58.745 --> 00:19:02.675 Sketching and Shading 329 00:19:03.494 --> 00:19:04.959 Now that the theory is finished 330 00:19:04.959 --> 00:19:07.559 I will start giving a lecture on 331 00:19:07.559 --> 00:19:09.494 practical drawing techniques 332 00:19:09.494 --> 00:19:11.444 What is the foundation of drawing? 333 00:19:11.444 --> 00:19:13.117 The foundation is shading 334 00:19:13.117 --> 00:19:14.959 Through the basics of lines and shading 335 00:19:14.959 --> 00:19:17.959 we will explore essential drawing tips 336 00:19:17.959 --> 00:19:20.438 So, I would like to clarify that the techniques 337 00:19:20.438 --> 00:19:24.602 we're discussing are based on using large paper and pencils 338 00:19:24.602 --> 00:19:25.632 which are commonly used in shading 339 00:19:28.852 --> 00:19:31.502 First, whether using your hand or digital drawing 340 00:19:31.502 --> 00:19:35.267 the most important thing in drawing is using long strokes for the lines 341 00:19:35.267 --> 00:19:37.567 Many beginners typically 342 00:19:37.567 --> 00:19:39.567 finding the precise technique of lines difficult 343 00:19:39.567 --> 00:19:42.346 tend to draw with short, quick strokes 344 00:19:42.346 --> 00:19:44.119 This is called feathered lines 345 00:19:44.119 --> 00:19:46.713 It's one of the bad habits to avoid 346 00:19:46.713 --> 00:19:49.513 When you interrupt a long, smooth line 347 00:19:49.513 --> 00:19:52.445 the accuracy of the line itself significantly decreases 348 00:19:52.445 --> 00:19:55.564 However, you also shouldn't make the lines too long 349 00:19:55.564 --> 00:19:57.214 You can hold it just like when writing 350 00:19:57.214 --> 00:20:02.356 or hold the pencil and draw, similar to the method shown in the second photo 351 00:20:02.356 --> 00:20:07.356 If you draw like in the first photo 352 00:20:07.356 --> 00:20:11.139 your wrist, pencil, and the distance from the axis is short 353 00:20:11.139 --> 00:20:13.386 This means the range of motion is limited 354 00:20:13.386 --> 00:20:18.762 and the length of the line you can draw becomes shorter 355 00:20:18.762 --> 00:20:21.312 The curve and strength of the line can also be expressed 356 00:20:21.312 --> 00:20:24.337 more delicately and with more variety 357 00:20:24.337 --> 00:20:26.437 It is not suitable for large drawings 358 00:20:26.437 --> 00:20:30.406 and is mainly used when detailed depiction, like writing, is needed 359 00:20:30.406 --> 00:20:34.287 The second method is holding the pencil as shown in the second photo 360 00:20:34.287 --> 00:20:37.137 The grip we will learn now is 361 00:20:37.137 --> 00:20:41.366 exactly like the one shown in this photo 362 00:20:41.366 --> 00:20:44.742 When holding the pencil like this, not only do you hold it as shown 363 00:20:44.742 --> 00:20:48.742 but you also fix your arm and wrist 364 00:20:48.742 --> 00:20:53.495 using your shoulder as the axis to draw in one smooth motion 365 00:20:53.495 --> 00:20:56.247 This greatly increases the range of motion 366 00:20:56.247 --> 00:21:01.000 By increasing the range of motion, it means you can draw longer lines 367 00:21:01.000 --> 00:21:03.950 And since fine control is not possible 368 00:21:03.950 --> 00:21:08.445 the strength of the line weakens, and the line becomes lighter 369 00:21:08.445 --> 00:21:11.495 Overall, the variation in the line becomes weaker 370 00:21:11.495 --> 00:21:15.000 and in shading, this type of line is actually recommended 371 00:21:15.000 --> 00:21:18.050 It's because we make planes by layering these lines 372 00:21:21.247 --> 00:21:25.000 Now, I will first demonstrate the technique 373 00:21:25.000 --> 00:21:28.300 If there is a long straight line 374 00:21:28.300 --> 00:21:33.881 and you're unsure, drawing short, quick strokes 375 00:21:33.881 --> 00:21:36.297 will cause the line to become fuzzy 376 00:21:36.297 --> 00:21:38.475 We call these lines, fuzzy lines 377 00:21:38.475 --> 00:21:41.703 If you draw a circle it will likely result in an imprecise instead of a smooth curve 378 00:21:51.495 --> 00:21:55.247 In this way, the circular shape becomes unclear 379 00:21:55.247 --> 00:21:57.564 and the line itself keeps becoming fuzzy making it imprecise 380 00:22:07.228 --> 00:22:09.769 On the contrary, drawing it in larger 381 00:22:14.818 --> 00:22:16.346 increases the accuracy 382 00:22:22.495 --> 00:22:28.554 If you need to layer planes, even if the lines are inaccurate 383 00:22:28.554 --> 00:22:29.804 overlapping long lines 384 00:22:33.761 --> 00:22:36.561 though still imperfect lines 385 00:22:36.561 --> 00:22:40.742 will result in greater accuracy 386 00:22:40.742 --> 00:22:44.307 Shall we reinforce the top with fuzzy lines? 387 00:22:44.307 --> 00:22:49.485 For being fuzzy lines, we won't be able to notice it 388 00:22:58.049 --> 00:22:59.999 Even if it is layered multiple times 389 00:22:59.999 --> 00:23:04.168 it's challenging to recognize the larger shape 390 00:23:04.168 --> 00:23:09.039 Although fewer lines were drawn, this is much closer to the circle 391 00:23:09.039 --> 00:23:11.191 Therefore, even if you can't draw the line 392 00:23:11.191 --> 00:23:12.703 perfectly in one go 393 00:23:12.703 --> 00:23:15.337 you need to practice drawing long 394 00:23:18.000 --> 00:23:22.485 Second, a line's curve should not make more than three turns 395 00:23:22.485 --> 00:23:24.386 What this means is that 396 00:23:24.386 --> 00:23:32.723 It's best to focus on drawing shapes like C, S, and I 397 00:23:32.723 --> 00:23:36.059 It’s good to keep this in mind 398 00:23:36.059 --> 00:23:44.119 a straight line, a curve, and a curve with a curvature that appears twice 399 00:23:44.119 --> 00:23:46.931 Only three types of curves are allowed 400 00:23:46.931 --> 00:23:51.960 For example, when we draw a heart, if we try to draw it all at once 401 00:23:51.960 --> 00:23:55.043 It becomes difficult to maintain a consistent shape 402 00:23:55.043 --> 00:23:57.312 This happens even with something as simple as a heart 403 00:23:57.312 --> 00:24:00.300 If it's difficult to maintain the shape like this 404 00:24:00.300 --> 00:24:02.150 it becomes nearly meaningless as a single-stroke drawing exercise 405 00:24:02.150 --> 00:24:05.049 when dealing with other shapes 406 00:24:05.049 --> 00:24:08.535 That's why, after drawing a curve 407 00:24:08.535 --> 00:24:12.129 after drawing a curve 408 00:24:12.129 --> 00:24:14.029 you should stop and break it before continuing 409 00:24:14.029 --> 00:24:16.267 because only then, there could be more precise 410 00:24:19.000 --> 00:24:23.000 Even if it's small enough to be drawn in one go 411 00:24:35.181 --> 00:24:39.181 trying to draw it all at once like this 412 00:24:39.181 --> 00:24:40.660 Like so 413 00:24:40.660 --> 00:24:45.540 There are first and second curvature 414 00:24:45.540 --> 00:24:48.000 Only up to this point should be divided 415 00:24:48.000 --> 00:24:52.072 cut it here and there, and then continue on the other side 416 00:24:55.200 --> 00:24:58.940 Let's go ahead and try drawing my and as an example 417 00:24:58.940 --> 00:25:01.593 What happens if I try to draw the hand using only one stroke? 418 00:25:25.394 --> 00:25:28.694 If the proportions are off even with a small drawing like this 419 00:25:28.694 --> 00:25:32.200 it will be a complete mess when working on larger drawings 420 00:25:32.200 --> 00:25:35.200 By focusing only on the curvature of the lines 421 00:25:35.200 --> 00:25:38.740 the protruding parts are aligned 422 00:25:38.740 --> 00:25:41.139 but the overall proportions are completely incorrect 423 00:25:41.139 --> 00:25:44.739 You end up not being able to see the overall picture 424 00:25:44.739 --> 00:25:47.311 Therefore, cut it appropriately 425 00:26:17.151 --> 00:26:20.199 Like this, how did I draw this? 426 00:26:20.199 --> 00:26:23.199 First curve second curve 427 00:26:23.199 --> 00:26:25.051 I never used a longer line after all, right? 428 00:26:28.595 --> 00:26:32.095 It’s very helpful to first practice drawing lines appropriately 429 00:26:32.095 --> 00:26:35.605 lifting the pencil when needed, like this 430 00:26:35.605 --> 00:26:38.763 Next, I will show you the key points to keep in mind when shading 431 00:26:38.763 --> 00:26:40.071 First 432 00:26:45.199 --> 00:26:47.160 Layer light lines 433 00:26:49.199 --> 00:26:51.199 to create planes 434 00:27:09.760 --> 00:27:12.080 creating planes 435 00:27:12.080 --> 00:27:13.920 After creating planes 436 00:27:13.920 --> 00:27:16.320 When expressing gradients or shading 437 00:27:16.320 --> 00:27:18.560 it should be darker, right? 438 00:27:18.560 --> 00:27:21.280 Then, by drawing lines overlapping at different angles 439 00:27:21.280 --> 00:27:24.960 you can express the darkness of the shading 440 00:27:24.960 --> 00:27:27.360 If the tilt was around this angle 441 00:27:27.360 --> 00:27:28.765 This time, with a slight change in angle 442 00:27:38.833 --> 00:27:40.160 the overlapping lines 443 00:27:40.160 --> 00:27:41.959 gradually transition to a different angle 444 00:27:41.959 --> 00:27:44.040 creating a smooth change 445 00:27:44.040 --> 00:27:47.000 If I continue drawing in the same direction 446 00:27:47.000 --> 00:27:47.737 What will it look like? 447 00:28:04.848 --> 00:28:08.383 By overlapping with the original lines on top 448 00:28:08.383 --> 00:28:12.880 it becomes easier to create a blotchy, uneven texture 449 00:28:12.880 --> 00:28:14.968 This makes it harder to control the shading effectively 450 00:28:14.968 --> 00:28:16.959 it's much better 451 00:28:16.959 --> 00:28:18.546 to tilt the lines at an angle 452 00:28:21.090 --> 00:28:24.400 If you have a plane like this 453 00:28:24.400 --> 00:28:28.440 continuing to layer the lines at an angle 454 00:28:28.440 --> 00:28:30.576 helps create a dense and detailed surface 455 00:28:40.110 --> 00:28:40.810 Here as well 456 00:28:44.788 --> 00:28:45.801 It stacks smoothly 457 00:28:50.919 --> 00:28:53.199 If you get lazy and apply strong lines 458 00:28:53.199 --> 00:28:55.760 how will it result in? 459 00:28:55.760 --> 00:28:57.636 For example 460 00:29:03.863 --> 00:29:05.678 There is a cubic object 461 00:29:08.559 --> 00:29:10.800 The light is coming from this side 462 00:29:10.800 --> 00:29:15.320 When this side should be the darkest side 463 00:29:15.320 --> 00:29:19.199 Sometimes, out of laziness, you might end up drawing the lines too strongly 464 00:29:19.199 --> 00:29:20.411 making planes like this 465 00:29:29.271 --> 00:29:33.360 Since the lines are too strong 466 00:29:33.360 --> 00:29:36.080 You can see the texture of the lines 467 00:29:36.080 --> 00:29:37.919 This makes it difficult to achieve a dense, smooth texture 468 00:29:37.919 --> 00:29:40.679 When using a pencil, the deep pressure marks 469 00:29:40.679 --> 00:29:45.800 from pressing too hard are clearly visible like this 470 00:29:45.800 --> 00:29:48.960 This part becomes very glossy due to the graphite 471 00:29:48.960 --> 00:29:50.339 Unlike the delicate layers 472 00:29:50.339 --> 00:29:53.199 built up one by one 473 00:29:53.199 --> 00:29:56.360 these lines are visible individually 474 00:29:56.360 --> 00:29:57.759 And when you draw too strong 475 00:29:57.759 --> 00:30:03.399 it becomes difficult to control the intensity of the lines 476 00:30:03.399 --> 00:30:05.639 These areas are very problematic in shading 477 00:30:05.639 --> 00:30:08.199 especially when emphasizing three-dimensionality 478 00:30:08.199 --> 00:30:12.479 In shading, lines should not be visible 479 00:30:12.479 --> 00:30:14.338 Everything should exist as planes 480 00:30:18.199 --> 00:30:20.199 Now, let's properly layer it on this side 481 00:30:48.007 --> 00:30:52.360 For reference, the beginning and end of the line must always be soft 482 00:30:52.360 --> 00:30:57.919 As you can see here 483 00:30:57.919 --> 00:31:03.538 sometimes the line starts off strongly like this 484 00:31:09.399 --> 00:31:11.331 If you do it by hand like this, what happens? 485 00:31:21.759 --> 00:31:24.600 There will be a strong mark 486 00:31:24.600 --> 00:31:26.079 There are also some mark left 487 00:31:26.079 --> 00:31:30.440 it’s not suitable for expressing planes 488 00:31:30.440 --> 00:31:32.399 It leaves even more noticeable marks 489 00:31:32.399 --> 00:31:35.799 when drawn with a pencil 490 00:31:35.799 --> 00:31:40.959 Therefore, when shading, the beginning and end of the lines must always be soft 491 00:31:40.959 --> 00:31:43.409 Like this, both ends should be soft 492 00:31:43.409 --> 00:31:47.160 ends that are like fading away 493 00:31:47.160 --> 00:31:49.660 Now, I will introduce some examples 494 00:31:49.660 --> 00:31:52.519 that would be great for practicing 495 00:31:52.519 --> 00:31:53.369 First 496 00:31:58.804 --> 00:32:00.631 The lines that stretch out so boldly 497 00:32:08.920 --> 00:32:13.559 this may seem like a tedious and boring process but 498 00:32:13.559 --> 00:32:18.399 Think of it as an exercise for developing the small muscles in your hands 499 00:32:18.399 --> 00:32:21.440 The value of the practice reveals itself not only when drawing thick lines 500 00:32:21.440 --> 00:32:22.847 but also when exercising fine control 501 00:32:30.519 --> 00:32:33.177 The second one is expressing gradients with your hand 502 00:32:36.880 --> 00:32:41.760 This practice of layering surfaces is also a fundamental part of sketching 503 00:32:41.760 --> 00:32:44.810 It’s good to practice layering planes 504 00:32:44.810 --> 00:32:48.119 even with small drawings, as if you’re doodling 505 00:32:48.119 --> 00:32:56.000 When you have a surface like this, gently layer it on top 506 00:32:56.000 --> 00:32:58.679 and then with another hand, gently layer it again 507 00:32:58.679 --> 00:33:01.359 By continuously layering in different directions like this 508 00:33:01.359 --> 00:33:03.379 the gradient is nicely completed 509 00:33:09.279 --> 00:33:13.399 Next, we’ll try drawing the five levels of shading with your hand 510 00:33:13.399 --> 00:33:15.159 This is surprisingly difficult 511 00:33:15.160 --> 00:33:19.279 It may seem easier than the gradient 512 00:33:19.279 --> 00:33:23.119 you need to create the five levels of shading 513 00:33:23.119 --> 00:33:28.760 by layering surfaces like before 514 00:33:28.760 --> 00:33:31.119 The reason it’s difficult is that 515 00:33:31.119 --> 00:33:37.119 sometimes the shading for levels 2, 3, and 4 516 00:33:37.119 --> 00:33:40.640 can be hard to distinguish 517 00:33:40.640 --> 00:33:41.997 For example 518 00:33:45.640 --> 00:33:51.200 As you layer, they can end up looking similar to each other like this 519 00:33:51.200 --> 00:33:52.880 Or, if you layer too much 520 00:33:57.850 --> 00:34:04.200 he shading for levels 3 and 4 can end up looking similar like this 521 00:34:04.200 --> 00:34:07.760 This happens quite often 522 00:34:07.760 --> 00:34:10.559 In terms of brightness 523 00:34:10.559 --> 00:34:23.040 It’s helpful to practice with a pencil 524 00:34:23.040 --> 00:34:24.959 so you can clearly divide the five levels 525 00:34:24.959 --> 00:34:27.959 into 10%, 30%, 50%, 70%, and 100% 526 00:34:27.959 --> 00:34:31.720 Let's summarize what we've learned in this lesson 527 00:34:31.720 --> 00:34:37.000 First, we learned about the types of lines, planes, and the principles of shading 528 00:34:37.000 --> 00:34:40.000 And before drawing, we covered how to draw lines 529 00:34:40.000 --> 00:34:43.279 and explored the techniques for shading 530 00:34:43.279 --> 00:34:44.920 Thank you for your hard work 531 00:34:46.388 --> 00:34:47.688 Symbolic expression Line A symbolic expression method that represents the boundary of an object 532 00:34:47.688 --> 00:34:48.938 Curvature: straight, curve Direction: vertical, horizontal, diagonal Thickness: thin, thick, with thickness change, with minimal thickness change 533 00:34:48.938 --> 00:34:50.188 Planes As a detailed concept of a line it expresses volume and detailed texture Visual information, three dimensionality, shading, planes, lines 534 00:34:50.188 --> 00:34:51.456 Shadow As a detailed concept of a plane, degree of light exposure Highlights, light areas, midtones, dark areas, reflected light, shadows 535 00:34:51.456 --> 00:34:53.806 Sketching and shading Points to note when drawing lines Avoid making short, choppy lines Avoid creating curves that loop more than three times 536 00:34:53.806 --> 00:34:56.152 Sketching practice process Drawing horizontal, vertical, and diagonal lines Expressing gradients Drawing five levels of shadow