WEBVTT 1 00:00:04.557 --> 00:00:10.547 Animation Advanced Strong Impact and Speed 2 00:00:10.547 --> 00:00:13.081 GCC Academy 3 00:00:24.176 --> 00:00:25.185 Hello 4 00:00:25.185 --> 00:00:28.352 This is Kang Ji-Won, teaching action drawing 5 00:00:28.352 --> 00:00:32.454 This time, you will learn how to draw gestures 6 00:00:32.460 --> 00:00:35.913 Before that, let's learn about stylizing 7 00:00:35.913 --> 00:00:38.663 You will learn how characters 8 00:00:38.663 --> 00:00:41.672 are changed and exaggerated from the original material 9 00:00:41.672 --> 00:00:45.792 and try applying that to an example 10 00:00:45.792 --> 00:00:48.480 And finally, learn how to draw gestures 11 00:00:49.222 --> 00:00:52.825 Stylization 12 00:00:54.200 --> 00:00:57.186 Actions are movements, and movements have purposes 13 00:00:57.186 --> 00:00:59.862 Purposes have a direction 14 00:00:59.862 --> 00:01:02.536 In order to make the purpose clear in a drawing 15 00:01:02.536 --> 00:01:04.436 it is important to make apparent 16 00:01:04.436 --> 00:01:06.480 which direction the character is aiming the action at 17 00:01:09.779 --> 00:01:12.307 In this lesson, you will learn 18 00:01:12.307 --> 00:01:17.121 how to maximize motion, emotion and actions using stylization 19 00:01:17.121 --> 00:01:20.898 You will also be able to try for yourself 20 00:01:20.898 --> 00:01:24.440 how to effectively express the movement and flow of the human body, using gesture drawing 21 00:01:24.440 --> 00:01:27.526 Using these two concepts 22 00:01:27.526 --> 00:01:30.696 we can summarize the purpose of an action 23 00:01:30.696 --> 00:01:34.180 and express it clearly in our drawings 24 00:01:35.720 --> 00:01:38.670 First let's practice drawing flexibly 25 00:01:38.670 --> 00:01:41.540 using transformation and exaggeration 26 00:01:44.680 --> 00:01:49.760 which is also called stylization, or more often deformé in Korean 27 00:01:49.760 --> 00:01:54.541 Stylization is a method where you change the fundamental shape of the character 28 00:01:54.541 --> 00:01:59.870 The example character Link, from the Legend of Zelda video game series 29 00:01:59.870 --> 00:02:01.920 Because the series has been around for so long 30 00:02:01.920 --> 00:02:05.641 he's been expressed in many different stylizations 31 00:02:05.641 --> 00:02:09.394 Some games 32 00:02:09.394 --> 00:02:14.410 have him similar to actual humans 33 00:02:14.410 --> 00:02:22.076 Some games have him in chibi form 34 00:02:22.076 --> 00:02:25.876 In another game 35 00:02:25.876 --> 00:02:28.531 he's made up of cubes 36 00:02:28.539 --> 00:02:32.649 Like this, you can have different variations of the same character 37 00:02:32.649 --> 00:02:37.739 according to purpose and point of view 38 00:02:37.739 --> 00:02:42.513 You can make their form more simple or exaggerate their features 39 00:02:42.513 --> 00:02:46.736 Or recreate them as a character 40 00:02:46.736 --> 00:02:50.139 through reinterpretation, providing a different visual experience 41 00:02:50.139 --> 00:02:55.038 Even if you're looking at the same shape 42 00:02:55.038 --> 00:02:58.622 there's a difference between seeing it in 3D and seeing a flat image 43 00:02:58.622 --> 00:03:01.829 Even when you're drawing a realistic human 44 00:03:01.829 --> 00:03:06.192 you have to enlarge the eyes for them to give the same impression as they would in real life 45 00:03:06.192 --> 00:03:10.124 and you have to omit the nose slightly as well 46 00:03:10.124 --> 00:03:14.433 Those are all examples of stylization 47 00:03:14.433 --> 00:03:20.483 The same applies to fire or water 48 00:03:20.483 --> 00:03:24.173 Water is represented often like this 49 00:03:24.173 --> 00:03:27.928 These kinds of objects that have no real shape 50 00:03:27.928 --> 00:03:31.023 also have to be stylized in drawings 51 00:03:31.023 --> 00:03:34.700 So, when drawing, especially with lines 52 00:03:34.700 --> 00:03:39.850 alterations and simplifications are not a choice, but necessary 53 00:03:39.850 --> 00:03:43.650 Now let's take a look at each of the aspects 54 00:03:43.650 --> 00:03:45.119 that make up stylization 55 00:03:47.119 --> 00:03:49.045 First is simplification 56 00:03:49.045 --> 00:03:52.639 which is when you convert a more complex form 57 00:03:52.639 --> 00:03:57.173 into geometric shapes such as circles, triangles or squares 58 00:03:57.173 --> 00:04:03.320 For example, if there's a mountain like this 59 00:04:07.102 --> 00:04:12.577 you would usually draw it as a triangle 60 00:04:12.577 --> 00:04:18.161 And clouds that are spread out like this 61 00:04:18.161 --> 00:04:25.013 you will often stylize 62 00:04:25.013 --> 00:04:30.983 into a few ovalish curves 63 00:04:30.983 --> 00:04:34.449 This can also be seen as a form of simplification 64 00:04:34.449 --> 00:04:37.478 Getting rid of unnecessary details 65 00:04:37.478 --> 00:04:41.013 and leaving only the minimum needed for the object to be recognized 66 00:04:41.013 --> 00:04:45.251 that is the core of simplification 67 00:04:45.251 --> 00:04:48.513 For example, when drawing machines 68 00:04:48.513 --> 00:04:52.855 such as an excavator or a car 69 00:04:52.855 --> 00:04:58.637 Parts like this vent here 70 00:04:58.637 --> 00:05:06.478 or ridges and wires 71 00:05:06.478 --> 00:05:09.458 will make the drawing very complex 72 00:05:09.458 --> 00:05:11.637 Which is why stylized drawings will skip them 73 00:05:14.845 --> 00:05:20.983 and in the case of cars, for example 74 00:05:20.983 --> 00:05:26.567 draw just the body of the car, with the windows and wheels 75 00:05:26.567 --> 00:05:31.755 In the case of this excavator as well 76 00:05:31.755 --> 00:05:39.013 Leaving only the core parts, such as the body and some mechanisms 77 00:05:39.013 --> 00:05:42.934 is a kind of simplification 78 00:05:42.953 --> 00:05:47.359 Taking out details appropriately is the core of simplification 79 00:05:47.359 --> 00:05:51.835 In the case of the human body 80 00:05:51.835 --> 00:05:57.181 you could leave only the eyes, ears, mouth and nose to highlight the general impression 81 00:05:57.181 --> 00:06:06.171 Leaving only the facial expression 82 00:06:06.171 --> 00:06:07.894 is also a type of simplification 83 00:06:13.458 --> 00:06:15.458 Next there is distortion 84 00:06:15.458 --> 00:06:19.983 Distortion means twisting, stretching, or compressing 85 00:06:19.983 --> 00:06:23.934 to alter it from the original shape 86 00:06:23.934 --> 00:06:25.934 Do you remember the concept squashing & stretching 87 00:06:25.934 --> 00:06:29.053 that we learned about before? 88 00:06:29.053 --> 00:06:32.033 That is also a form of distortion 89 00:06:32.033 --> 00:06:35.983 Another form of distortion is highlighting or minimizing 90 00:06:35.983 --> 00:06:40.211 a certain aspect of the original design 91 00:06:40.211 --> 00:06:48.320 A chibi character with shortened limbs 92 00:06:48.320 --> 00:06:52.904 can be seen as having been distorted 93 00:06:52.904 --> 00:06:54.804 And as I said that 94 00:06:54.804 --> 00:06:57.864 squashing & stretching is also distortion 95 00:06:57.864 --> 00:07:00.964 taking the the lines of the body 96 00:07:00.964 --> 00:07:03.914 or movement and action lines 97 00:07:03.914 --> 00:07:08.864 and stretching or squishing them is also distortion 98 00:07:08.864 --> 00:07:12.171 As you can see very well 99 00:07:12.171 --> 00:07:14.825 in animations such as Tom & Jerry 100 00:07:14.825 --> 00:07:17.894 These types of animation 101 00:07:17.894 --> 00:07:22.746 very often express movement 102 00:07:22.755 --> 00:07:28.231 by stretching characters' bodies out 103 00:07:28.231 --> 00:07:33.211 And if the character is hit by an object, in this case an iron 104 00:07:33.211 --> 00:07:37.043 the character will stay squished in the shape of the object 105 00:07:37.043 --> 00:07:44.379 If they drink a lot of water, to express that 106 00:07:44.379 --> 00:07:48.129 the character's body will become bloated like a water balloon 107 00:07:48.129 --> 00:07:50.280 These kinds of distortions 108 00:07:50.280 --> 00:07:53.563 because the animation is a slapstick comedy 109 00:07:53.563 --> 00:07:57.313 are used in order to maximize 110 00:07:57.313 --> 00:08:00.231 the exaggerated movements that make slapstick funny 111 00:08:00.231 --> 00:08:04.248 And this animation is the definition 112 00:08:04.248 --> 00:08:09.409 of a work that actively uses distortion 113 00:08:12.835 --> 00:08:15.488 Next we have reconstruction 114 00:08:15.488 --> 00:08:17.688 Looking at the subject from another point of view 115 00:08:17.688 --> 00:08:21.270 and taking the subject's characteristics that you want 116 00:08:21.270 --> 00:08:23.651 to put them together in your point of view 117 00:08:23.651 --> 00:08:26.488 can also be a kind of stylization 118 00:08:26.488 --> 00:08:30.543 The characterization of animals and such that you can see often in Japanese comics 119 00:08:30.543 --> 00:08:35.518 is a well-known example of reconstruction 120 00:08:35.518 --> 00:08:41.118 For example, taking the eyes 121 00:08:41.118 --> 00:08:45.468 and plumage color from this bird 122 00:08:45.468 --> 00:08:49.618 and reconstructing it in the way you want 123 00:08:49.618 --> 00:08:54.429 and changing the placement can also be seen as reconstruction 124 00:08:54.429 --> 00:08:55.829 In the case of this character 125 00:08:55.829 --> 00:08:59.825 the bird's characteristic beak is hanging from the character's head 126 00:08:59.825 --> 00:09:03.320 This is an example of reconstruction 127 00:09:05.894 --> 00:09:08.231 Next is exaggeration 128 00:09:08.231 --> 00:09:10.381 Exaggeration is term for any time 129 00:09:10.381 --> 00:09:13.498 when you maximize a certain aspect of the subject 130 00:09:13.498 --> 00:09:17.449 The concept of distortion is a type of exaggeration as well 131 00:09:17.449 --> 00:09:20.499 but this type of exaggeration is different 132 00:09:20.499 --> 00:09:23.666 in that it leaves the original context 133 00:09:23.666 --> 00:09:26.854 as it exaggerates 134 00:09:26.854 --> 00:09:32.003 A good example of this is caricatures 135 00:09:32.003 --> 00:09:36.129 You can see from the example 136 00:09:36.129 --> 00:09:39.973 that the drawing and original person are certainly different 137 00:09:39.973 --> 00:09:42.231 but they look somewhat similar 138 00:09:42.231 --> 00:09:45.257 That is because the eyes, ears, mouth, nose and shape of the face 139 00:09:45.257 --> 00:09:48.201 which decide the impression the person gives 140 00:09:48.201 --> 00:09:54.894 has been altered to maximize the person's characteristics 141 00:09:54.894 --> 00:09:58.044 This can look a bit silly 142 00:09:58.044 --> 00:09:59.944 since caricatures are often used 143 00:09:59.944 --> 00:10:02.310 as a part of comedy or satire 144 00:10:02.310 --> 00:10:06.710 but exaggerating a person's features in a drawing 145 00:10:06.710 --> 00:10:09.162 is a commonly used method of expression 146 00:10:11.726 --> 00:10:16.976 You can also draw a tall person 147 00:10:16.976 --> 00:10:22.320 to be incredibly thin, like a stick figure 148 00:10:25.320 --> 00:10:33.201 or draw a short person so that their head is as tall as their body 149 00:10:35.340 --> 00:10:36.840 Or you could take someone with large eyes 150 00:10:36.840 --> 00:10:39.320 and make their eyes ridiculously large 151 00:10:52.736 --> 00:10:55.586 This kind of enlarging or reducing physical characteristics 152 00:10:55.586 --> 00:10:57.186 in order to highlight them 153 00:10:57.186 --> 00:11:00.072 can be seen as exaggeration 154 00:11:00.072 --> 00:11:04.922 Not only that, you can also exaggerate emotions 155 00:11:04.922 --> 00:11:08.472 by exaggerating facial expressions or poses 156 00:11:08.472 --> 00:11:12.080 and thus making emotions seem more dramatic 157 00:11:12.080 --> 00:11:14.430 There are a few symbols 158 00:11:14.430 --> 00:11:16.280 that we often use as special effects in comics 159 00:11:16.280 --> 00:11:20.409 Characters sweat 160 00:11:20.409 --> 00:11:22.258 when they are embarrassed 161 00:11:24.719 --> 00:11:26.668 and when they're angry 162 00:11:28.698 --> 00:11:32.736 they will often display this mark 163 00:11:32.736 --> 00:11:39.886 This is an exaggeration of how blood vessels extrude 164 00:11:39.886 --> 00:11:43.150 when people are angry in real life 165 00:11:43.150 --> 00:11:49.650 And the same is true for the sweat drops, which may actually appear when people are embarrassed or bewildered 166 00:11:49.650 --> 00:11:54.400 They are actual physical reactions that have been turned into symbols 167 00:11:54.400 --> 00:11:58.550 Which is why the use of symbols can also be seen as stylization 168 00:11:58.550 --> 00:12:01.360 through simplification and exaggeration 169 00:12:01.360 --> 00:12:04.260 All of these concepts do not occur alone 170 00:12:04.260 --> 00:12:06.746 but rather along with other types of stylization 171 00:12:08.207 --> 00:12:12.148 Applying transformation and exaggeration 172 00:12:13.120 --> 00:12:17.120 Next let's learn how to apply the transformation and exaggeration 173 00:12:17.120 --> 00:12:20.639 that we just learned about on the human body 174 00:12:20.639 --> 00:12:22.589 Stylization is often used 175 00:12:22.589 --> 00:12:24.839 as a term for the exaggeration and transformation 176 00:12:24.839 --> 00:12:27.919 of the human body 177 00:12:27.919 --> 00:12:33.219 That is because the human body 178 00:12:33.219 --> 00:12:37.069 is the very often the subject of stylization 179 00:12:37.069 --> 00:12:39.819 The most important and often stylized aspect 180 00:12:39.819 --> 00:12:44.800 of the human body is its proportions 181 00:12:44.800 --> 00:12:47.650 First, what are body proportions? 182 00:12:47.650 --> 00:12:51.820 It means how large the head is compared to the rest of the body 183 00:12:53.536 --> 00:13:01.936 or in other words, how many heads equal the height of the whole body 184 00:13:04.239 --> 00:13:05.689 Which means 185 00:13:05.689 --> 00:13:08.777 that this character has a 1:4 body proportion 186 00:13:13.084 --> 00:13:15.784 Because of this, what is most important when it comes to body proportions 187 00:13:15.784 --> 00:13:21.047 is how large the head is 188 00:13:21.047 --> 00:13:25.697 The smaller the head is, the larger the body proportion becomes 189 00:13:25.697 --> 00:13:30.831 and the more model-like 190 00:13:30.831 --> 00:13:33.662 and mature the character will look 191 00:13:39.466 --> 00:13:41.818 The smaller the proportion is, on the other hand 192 00:13:45.919 --> 00:13:46.657 Like this 193 00:13:49.199 --> 00:13:52.528 for example, a 1:2.5 character 194 00:13:56.000 --> 00:13:57.798 in order to fit the entire body into this space 195 00:13:59.919 --> 00:14:01.515 it would have to look like this 196 00:14:03.119 --> 00:14:07.759 How does it look? The character looks very cute, doesn't it? 197 00:14:07.759 --> 00:14:13.689 This is about the actual body proportion of a baby 198 00:14:13.689 --> 00:14:19.600 You can not only change the size of the head, but also make the legs shorter 199 00:14:19.600 --> 00:14:22.707 which also makes the body proportion smaller 200 00:14:25.588 --> 00:14:30.000 and the character will also lose details in the limbs, since if you draw too many details here 201 00:14:30.000 --> 00:14:36.160 The character will look exaggerated and realistic at the same time which will probably be creepy 202 00:14:36.160 --> 00:14:40.320 that is why simplification comes along naturally 203 00:14:40.320 --> 00:14:46.086 and characters with smaller body proportions are usually simplified 204 00:14:46.086 --> 00:14:48.636 And like I said, making the legs shorter or longer 205 00:14:48.636 --> 00:14:50.160 is also a way to change the body proportions 206 00:14:50.160 --> 00:14:53.759 or to be more exact, how the character feels 207 00:14:53.759 --> 00:15:02.639 Now, a character with longer legs will have more dynamic movements 208 00:15:02.639 --> 00:15:04.898 If this character moves its legs 209 00:15:09.600 --> 00:15:13.148 the movement will be very apparent 210 00:15:16.981 --> 00:15:21.976 This character as well, if I make the torso shorter 211 00:15:24.399 --> 00:15:27.299 and the legs longer 212 00:15:27.299 --> 00:15:32.868 will have long enough limbs to make its actions stand out 213 00:15:37.427 --> 00:15:43.200 Then on the other hand 214 00:15:43.200 --> 00:15:48.018 What would a character with shorter legs feel like? 215 00:15:51.119 --> 00:15:54.569 It would look very stable 216 00:15:54.569 --> 00:15:59.200 and will likely be even more simplified 217 00:15:59.200 --> 00:16:03.300 The former character has body proportions 218 00:16:03.300 --> 00:16:07.600 used in animations or video games with lots of action 219 00:16:07.600 --> 00:16:11.566 and the latter, whom has shorter legs 220 00:16:13.920 --> 00:16:21.440 is used mostly for characters you can see on stationery and such 221 00:16:21.440 --> 00:16:26.790 Because simplified, almost symbol-like characters 222 00:16:26.790 --> 00:16:31.986 are most appropriate as mascots 223 00:16:31.986 --> 00:16:37.359 many such characters have simplified features and short legs 224 00:16:37.359 --> 00:16:41.009 For example, Kakao Friends 225 00:16:41.009 --> 00:16:42.640 or Lines Friends 226 00:16:42.640 --> 00:16:45.978 all have body proportions like this 227 00:16:49.165 --> 00:16:53.365 You can also adjust the width of the shoulders 228 00:16:53.365 --> 00:16:57.519 To change how the character feels 229 00:16:57.519 --> 00:17:00.719 This can't be called body proportions, to be exact 230 00:17:00.719 --> 00:17:06.736 but with wider shoulders, the character feels more like a real human 231 00:17:11.359 --> 00:17:12.756 and narrower shoulders 232 00:17:19.769 --> 00:17:21.925 this character's shoulders are basically nonexistent 233 00:17:29.359 --> 00:17:36.399 This will make the character look younger or more stylized 234 00:17:36.399 --> 00:17:39.349 And the shorter they are vertically 235 00:17:39.349 --> 00:17:43.549 they will also become nonexistent 236 00:17:43.549 --> 00:17:48.999 The character down here already has its neck omitted 237 00:17:52.320 --> 00:17:55.517 and the shorter the shoulders are, the more abbreviated the neck becomes as well 238 00:17:58.720 --> 00:18:02.320 and the character will look more like a caricature 239 00:18:02.320 --> 00:18:06.620 And the longer you make a character's proportions 240 00:18:06.620 --> 00:18:10.079 the more distorted their features will become 241 00:18:10.079 --> 00:18:12.279 The shorter the proportions are, as I already explained 242 00:18:12.279 --> 00:18:17.200 the more simplified the character will become as well 243 00:18:17.200 --> 00:18:21.679 Next we have exaggeration of form 244 00:18:21.679 --> 00:18:23.279 and as I said before 245 00:18:23.279 --> 00:18:28.000 you can either exaggerate the facial features 246 00:18:28.000 --> 00:18:30.400 to make emotions more dramatic 247 00:18:30.400 --> 00:18:34.399 or you can exaggerate physical features to visualize characteristics 248 00:18:34.399 --> 00:18:37.449 Let's say for example there is a person 249 00:18:37.449 --> 00:18:41.440 who is overall fat, but has less body fat at the legs 250 00:18:41.440 --> 00:18:44.337 How could you express that? 251 00:18:46.959 --> 00:18:48.898 To express that the person's body is bulky 252 00:18:51.279 --> 00:18:52.348 you can make the torso round 253 00:18:54.160 --> 00:19:00.559 and make the legs thin as sticks 254 00:19:00.559 --> 00:19:03.367 That will highlight this person's physical characteristics 255 00:19:16.961 --> 00:19:17.848 like this 256 00:19:20.160 --> 00:19:26.279 Or drawing a muscular person with their upper body 257 00:19:28.720 --> 00:19:31.020 completely in the shape of an inverted triangle 258 00:19:31.020 --> 00:19:34.196 is also stylization through exaggeration of physical aspects 259 00:19:40.719 --> 00:19:44.797 And in the case of simplification 260 00:19:49.679 --> 00:19:53.079 simplifying characters' bodies into circles or triangles 261 00:19:53.079 --> 00:19:56.239 can also be a form of simplification 262 00:19:56.239 --> 00:19:58.288 This kind of radical simplification 263 00:20:01.280 --> 00:20:05.480 used often in emoticons or pictograms 264 00:20:05.480 --> 00:20:09.599 is also simplification of the human body 265 00:20:09.599 --> 00:20:13.899 Simplifying the human body into circles or triangles and such 266 00:20:13.899 --> 00:20:16.960 also helps when studying silhouettes 267 00:20:16.960 --> 00:20:21.460 As I did before when explaining exaggeration 268 00:20:21.460 --> 00:20:24.640 you turn the overall silhouette of the body into geometric shapes 269 00:20:24.640 --> 00:20:28.117 For example, taking this almond shape 270 00:20:34.479 --> 00:20:37.377 and using it to draw a person 271 00:20:42.400 --> 00:20:43.539 with a potbelly 272 00:20:46.159 --> 00:20:46.896 Or 273 00:20:50.320 --> 00:20:52.387 the part that I saw as a potbelly 274 00:20:57.679 --> 00:20:59.317 could be the person's thighs instead 275 00:21:06.239 --> 00:21:06.737 Or again 276 00:21:12.198 --> 00:21:21.520 even if someone is muscular 277 00:21:21.520 --> 00:21:24.367 there is a big difference between how they would look 278 00:21:33.412 --> 00:21:41.935 when their silhouette is an inverted triangle, and when it is a square 279 00:21:57.237 --> 00:22:01.366 As you can see, using geometric shapes as a silhouette 280 00:22:01.366 --> 00:22:03.178 is helpful for creating designs 281 00:22:03.178 --> 00:22:07.440 that show the personality of a character even at a glance 282 00:22:07.440 --> 00:22:09.790 Next are stylizations that focus on 283 00:22:09.790 --> 00:22:12.559 transformation 284 00:22:12.559 --> 00:22:17.440 The biggest thing that factors into someone's drawing style 285 00:22:17.440 --> 00:22:19.190 is how consistent their expression is 286 00:22:19.190 --> 00:22:22.320 of the human body 287 00:22:22.330 --> 00:22:29.418 You could draw every character to be round with short limbs 288 00:22:38.479 --> 00:22:43.877 Or you could make every character long and slender 289 00:22:55.270 --> 00:22:56.737 This is what drawing style is 290 00:23:01.359 --> 00:23:06.320 If the project you're working on is focused on action 291 00:23:06.320 --> 00:23:10.520 then you could make every character be stylized like this 292 00:23:10.520 --> 00:23:12.479 so that their designs are suitable for action scenes 293 00:23:12.479 --> 00:23:15.279 If there's an action comic 294 00:23:15.279 --> 00:23:18.799 and one person has long limbs 295 00:23:18.799 --> 00:23:24.849 and the other has short limbs 296 00:23:24.849 --> 00:23:28.243 with barely distinguishable arms, legs, and hands 297 00:23:28.243 --> 00:23:31.520 the cast is certainly diverse in design 298 00:23:31.520 --> 00:23:34.400 but it isn't appropriate for the theme 299 00:23:34.400 --> 00:23:36.350 Which is why in a single piece of work 300 00:23:36.350 --> 00:23:38.159 according to what genre or purpose it has 301 00:23:38.159 --> 00:23:40.159 you can unify the way characters are stylized 302 00:23:40.159 --> 00:23:44.559 and that becomes the drawing style of that work 303 00:23:44.559 --> 00:23:46.709 And as I explained before 304 00:23:46.709 --> 00:23:52.960 The larger the parts near the hands and feet are, the more highlighted the character's actions are 305 00:23:52.960 --> 00:23:53.788 For example 306 00:23:57.119 --> 00:23:58.088 You can enlarge 307 00:24:03.799 --> 00:24:06.960 just the hands and feet 308 00:24:06.960 --> 00:24:09.257 This character looks kind of like Mickey Mouse 309 00:24:21.132 --> 00:24:25.119 Now the hands will stand out wherever they are placed 310 00:24:25.119 --> 00:24:28.169 since they're so large 311 00:24:28.169 --> 00:24:30.188 And whatever motion they make, it will be very noticeable 312 00:24:33.310 --> 00:24:34.025 Or 313 00:24:36.919 --> 00:24:41.917 you can also make the movement of the hands and feet 314 00:24:44.159 --> 00:24:45.559 be linked to those of the arms and legs 315 00:24:52.320 --> 00:24:57.025 So I would advise you to look for various examples of stylization 316 00:24:57.025 --> 00:25:01.332 and find your own style 317 00:25:01.332 --> 00:25:04.634 Movement can also be exaggerated 318 00:25:04.634 --> 00:25:07.367 as well as character design 319 00:25:14.307 --> 00:25:19.190 You already know that by making the arms and legs 320 00:25:19.190 --> 00:25:22.040 longer, shorter, bigger, or smaller 321 00:25:22.040 --> 00:25:24.178 you can maximize the flow of movement 322 00:25:24.178 --> 00:25:28.000 and that is called squash & stretch 323 00:25:28.000 --> 00:25:30.500 We have so far gone over some aspects 324 00:25:30.500 --> 00:25:34.000 of transformation and exaggeration 325 00:25:34.000 --> 00:25:37.000 Now let's try it out for ourselves 326 00:25:37.000 --> 00:25:41.228 So, how to practice drawing with a silhouette 327 00:25:41.228 --> 00:25:44.178 It's common to draw silhouettes 328 00:25:44.178 --> 00:25:48.000 in plain lines like this when studying drawing 329 00:25:48.000 --> 00:25:51.850 Lines are the thinnest method of drawing 330 00:25:51.850 --> 00:25:55.049 If they are all you use, you become unable to see the bigger picture 331 00:25:55.049 --> 00:26:00.703 and may end up obsessing too much on the details 332 00:26:00.703 --> 00:26:03.403 Which is why trying, based on a typical human body 333 00:26:03.403 --> 00:26:05.614 to create multiple silhouettes 334 00:26:07.881 --> 00:26:08.713 in black 335 00:26:14.376 --> 00:26:15.515 so that 336 00:26:19.544 --> 00:26:23.844 it's impossible to add any details 337 00:26:23.844 --> 00:26:26.188 will make it easy to get an idea of how the overall character looks 338 00:26:29.297 --> 00:26:33.307 and creating variations of it as well 339 00:26:33.307 --> 00:26:36.457 That is because unlike when you're using lines 340 00:26:36.457 --> 00:26:39.238 even a small change is very apparent 341 00:26:49.000 --> 00:26:55.200 You can create many variations of the same drawing 342 00:26:55.200 --> 00:26:59.287 just by erasing or adding tiny bits 343 00:26:59.287 --> 00:27:01.198 which makes it easy to apply it to other places 344 00:27:04.257 --> 00:27:07.129 You can also use geometric shapes 345 00:27:12.092 --> 00:27:18.392 Like in the first example of simplification 346 00:27:18.392 --> 00:27:22.713 Practicing creating silhouettes using certain shapes 347 00:27:27.485 --> 00:27:34.000 such as circles or triangles 348 00:27:34.000 --> 00:27:37.881 will help you see how the character looks overall 349 00:27:40.406 --> 00:27:43.654 and reinforce the impression you are intending to give the character 350 00:28:11.771 --> 00:28:16.703 You can apply shapes to character design like this 351 00:28:19.683 --> 00:28:24.584 Geometric shapes can either be the entire silhouette of the body 352 00:28:24.584 --> 00:28:29.386 or it can be that of just the torso 353 00:28:34.099 --> 00:28:36.051 Or you can apply just the curves and angles 354 00:28:36.051 --> 00:28:38.832 that a geometric shape has 355 00:28:41.346 --> 00:28:44.696 Maybe you could make a certain shape a concept 356 00:28:44.696 --> 00:28:47.426 that is consistent along the entire character design 357 00:28:49.154 --> 00:28:52.886 Drawing Gestures 358 00:28:54.000 --> 00:28:58.000 The last thing you will learn about this time is how to draw gestures 359 00:28:58.000 --> 00:29:01.750 Gesture drawing is drawing that focuses 360 00:29:01.750 --> 00:29:04.574 on the movement or flow of people or objects 361 00:29:04.574 --> 00:29:07.238 It's also called line of action 362 00:29:07.238 --> 00:29:14.109 because the continuous movement of a subject is expressed in lines 363 00:29:14.109 --> 00:29:17.028 For example, let's say these circles 364 00:29:23.618 --> 00:29:27.410 are arranged 365 00:29:31.000 --> 00:29:33.079 continuously in a curve 366 00:29:35.851 --> 00:29:37.000 Now, then 367 00:29:40.871 --> 00:29:44.148 how does the circle flow? 368 00:29:44.148 --> 00:29:48.000 in a curvy way like this? 369 00:29:49.594 --> 00:29:50.366 No 370 00:29:52.584 --> 00:29:58.000 If you take the centers and connect them 371 00:30:03.148 --> 00:30:05.851 This is flow of the circle's movement 372 00:30:05.851 --> 00:30:10.693 The core of gesture drawing is movement and balance 373 00:30:10.693 --> 00:30:15.366 And where was the center of gravity? It's in the middle of the object 374 00:30:18.000 --> 00:30:23.000 Also, the direction the center of gravity is heading 375 00:30:23.000 --> 00:30:27.000 will always be along this, the action line 376 00:30:27.000 --> 00:30:30.238 That's one thing of note 377 00:30:30.238 --> 00:30:34.438 Gestures are performed not only by people and animals 378 00:30:34.438 --> 00:30:37.000 but also by plants or scenery 379 00:30:39.762 --> 00:30:43.456 Gesture lines also exist in scenes like this 380 00:30:47.327 --> 00:30:50.208 How would the gesture lines look in a situation like this? 381 00:30:52.287 --> 00:31:02.485 First is the horizon, in the center of the scene 382 00:31:02.485 --> 00:31:05.335 Or over here, the clouds are clumped together over here 383 00:31:05.335 --> 00:31:08.000 and are spread out more over here 384 00:31:08.000 --> 00:31:11.297 Which makes the line go like this 385 00:31:12.871 --> 00:31:16.000 All of these are gesture lines 386 00:31:16.000 --> 00:31:18.400 Finding the gesture lines are the basics 387 00:31:18.400 --> 00:31:22.158 of observing and expressing subjects 388 00:31:22.158 --> 00:31:25.908 That is because everything that you can see 389 00:31:25.908 --> 00:31:28.544 you can understand by understanding their gestures 390 00:31:28.544 --> 00:31:31.713 This can also be applied to the composition of paintings as well 391 00:31:31.713 --> 00:31:35.113 You will realize that gesture drawing is also 392 00:31:35.113 --> 00:31:38.535 a very effective skill for sketching 393 00:31:38.535 --> 00:31:42.297 You could say that it constitutes the skeleton of drawings 394 00:31:44.109 --> 00:31:46.059 because the action lines 395 00:31:46.059 --> 00:31:48.762 often follow the vertebrae of humans 396 00:31:48.762 --> 00:31:51.148 and skeletal structures 397 00:31:53.752 --> 00:31:57.693 Before you get into the details, while you're still sketching 398 00:31:57.693 --> 00:32:02.193 using gesture drawing to compress the overall flow 399 00:32:02.193 --> 00:32:07.019 into clear and concise curves 400 00:32:07.019 --> 00:32:15.019 allows details that are added later 401 00:32:15.019 --> 00:32:16.769 to follow a single flow 402 00:32:16.769 --> 00:32:19.000 rather than fly all over the place 403 00:32:20.000 --> 00:32:21.000 For example 404 00:32:24.911 --> 00:32:28.257 if this is the action line 405 00:32:30.673 --> 00:32:31.673 On top of here 406 00:32:36.069 --> 00:32:37.376 through gesture drawing 407 00:32:42.257 --> 00:32:46.119 I can draw the body and legs 408 00:32:48.346 --> 00:32:52.851 to follow a general flow 409 00:32:52.851 --> 00:32:57.188 The legs might fall out 410 00:32:57.188 --> 00:33:00.224 of the main action line 411 00:33:00.224 --> 00:33:03.832 slightly 412 00:33:03.832 --> 00:33:06.332 However, the overall flow of the body 413 00:33:06.332 --> 00:33:11.416 is still based on this action line 414 00:33:11.416 --> 00:33:17.535 Now I can begin giving on top of this 415 00:33:20.000 --> 00:33:25.900 some details to the pants 416 00:33:25.900 --> 00:33:28.643 or more accurately depict the body 417 00:33:31.742 --> 00:33:32.742 For example 418 00:33:32.742 --> 00:33:34.634 draw details like this 419 00:33:34.634 --> 00:33:37.184 So this is how gesture drawing 420 00:33:37.184 --> 00:33:42.208 and action lines work 421 00:33:42.208 --> 00:33:47.267 Let's look at some more detailed methods of gesture drawing 422 00:33:47.267 --> 00:33:49.564 Here's a human body 423 00:33:49.564 --> 00:33:52.049 Firstly, when drawing a human body 424 00:33:52.049 --> 00:33:55.287 you should never 425 00:33:59.861 --> 00:34:05.663 depict every single muscle from the beginning 426 00:34:11.297 --> 00:34:12.297 So not like this 427 00:34:16.653 --> 00:34:18.267 But the major lines 428 00:34:20.673 --> 00:34:22.773 that you can see at a glance 429 00:34:22.773 --> 00:34:26.336 concisely in a single action line 430 00:34:26.336 --> 00:34:30.742 If the head is here 431 00:34:30.742 --> 00:34:34.772 What is the biggest flow of movement you can see here? 432 00:34:37.346 --> 00:34:38.802 The tip of the foot 433 00:34:38.802 --> 00:34:43.000 will connect to the head like this 434 00:34:45.238 --> 00:34:48.000 Or rather, more like this 435 00:34:49.614 --> 00:34:50.397 Also 436 00:34:53.366 --> 00:34:56.466 when drawing the action line 437 00:34:56.466 --> 00:34:58.604 you should skip any angles as much as possible 438 00:34:58.604 --> 00:35:04.247 and minor curves like this 439 00:35:04.247 --> 00:35:08.218 Do you remember the methods of drawing lines from before? 440 00:35:08.218 --> 00:35:14.039 You should utilize the C, S, and I lines very aggressively 441 00:35:14.039 --> 00:35:17.247 Because we have to focus on the overall movement right now 442 00:35:17.247 --> 00:35:21.970 If the lines are too complex, the movement won't be noticeable 443 00:35:21.970 --> 00:35:26.109 And by movement, right now I mean that 444 00:35:26.109 --> 00:35:28.812 the direction the body is pointing has to be clear 445 00:35:28.812 --> 00:35:31.462 Movement, therefore, should be stylized as much as possible 446 00:35:31.462 --> 00:35:35.505 into one direction 447 00:35:35.505 --> 00:35:38.055 or if the arms are in a different direction 448 00:35:38.055 --> 00:35:40.733 at most two action lines 449 00:35:43.119 --> 00:35:48.564 Another thing is that the line should be long and clear in order to highlight movement 450 00:35:50.000 --> 00:35:51.800 The center of gravity is important as well 451 00:35:51.800 --> 00:35:57.000 so you should use the lines to find the center of gravity, too 452 00:36:00.643 --> 00:36:02.475 When you're beginning to draw 453 00:36:09.198 --> 00:36:12.898 you should draw the overall flow 454 00:36:12.898 --> 00:36:15.723 in a single line from the head to the feet 455 00:36:15.723 --> 00:36:18.495 You can kind of think of it as drawing a stick figure 456 00:36:23.634 --> 00:36:27.931 This drawing has two action lines, the other one connects the hands 457 00:36:30.049 --> 00:36:33.758 Now we have to focus on catching 458 00:36:33.758 --> 00:36:35.693 the lines of the limbs and body 459 00:36:37.703 --> 00:36:40.253 The action line is longest axis of the body 460 00:36:40.253 --> 00:36:42.713 so you have to be accurate when drawing it 461 00:36:46.168 --> 00:36:50.068 And it ideally should be a C-curve 462 00:36:50.068 --> 00:36:54.495 and should be at most a S-curve 463 00:36:54.495 --> 00:37:00.645 I mean that you should have as few inflections 464 00:37:00.645 --> 00:37:02.495 in the curve as possible 465 00:37:02.495 --> 00:37:05.336 ideally a single curve 466 00:37:05.336 --> 00:37:08.424 Also, the larger the action is, the clearer the action lines have to be 467 00:37:08.424 --> 00:37:09.921 for the movement to be apparent 468 00:37:13.871 --> 00:37:18.021 Now let's try drawing 469 00:37:18.021 --> 00:37:19.713 based on the rules of gesture drawing 470 00:37:23.000 --> 00:37:34.156 First draw the torso bent to the side, then the hands 471 00:37:34.156 --> 00:37:37.047 just how the fingers are bent in general 472 00:37:37.047 --> 00:37:41.000 The arm in a single curve, since it's flowing in one direction 473 00:37:43.000 --> 00:37:48.317 The other arm is also curving in this direction 474 00:37:48.317 --> 00:37:54.817 And here as well 475 00:37:54.817 --> 00:38:00.218 I'll mark where the fingers are 476 00:38:04.643 --> 00:38:05.443 On the way 477 00:38:10.299 --> 00:38:13.000 to the feet, the knees are bent 478 00:38:14.921 --> 00:38:15.744 And 479 00:38:19.371 --> 00:38:22.371 depict the leg like this 480 00:38:22.371 --> 00:38:26.594 Make sure the foot is also pointing along the action line 481 00:38:30.188 --> 00:38:38.838 Now, details that are outside of the action line, like this leg 482 00:38:38.838 --> 00:38:43.338 I will draw as concisely as possible 483 00:38:43.338 --> 00:38:47.406 to just give an idea of its movement, and we're finished 484 00:38:47.406 --> 00:38:51.465 This is the end of gesture drawing 485 00:38:51.465 --> 00:38:54.315 and in the case of a rough drawing, this is enough detail 486 00:38:54.315 --> 00:38:57.000 for you to gain drawing experience 487 00:39:01.733 --> 00:39:05.525 Now, let's take a look at another example 488 00:39:05.525 --> 00:39:09.396 This is the action lines as depicted using Tom and Jerry 489 00:39:11.406 --> 00:39:16.564 Action lines, ideally, should follow the direction of the character's actions 490 00:39:16.564 --> 00:39:22.364 For example, if the character is throwing a punch like this 491 00:39:24.909 --> 00:39:28.909 The end of the line is not the head 492 00:39:28.909 --> 00:39:35.782 but the line is rather connecting the fist and one foot 493 00:39:35.782 --> 00:39:44.332 And to highlight the force of the punch 494 00:39:44.332 --> 00:39:46.632 the action line of the character that is being hit 495 00:39:46.632 --> 00:39:49.148 will curve at the point of impact like this 496 00:39:49.148 --> 00:39:51.948 This drawing would have been drawn 497 00:39:51.948 --> 00:39:57.871 beginning with these two action lines, and not with the body itself 498 00:40:04.544 --> 00:40:09.594 As you can see, action lines 499 00:40:09.594 --> 00:40:13.852 can make very clear the direction and amount of force 500 00:40:13.852 --> 00:40:16.252 The examples below this 501 00:40:16.252 --> 00:40:18.252 show you what happens 502 00:40:18.252 --> 00:40:23.663 when you don't use action lines 503 00:40:23.663 --> 00:40:29.213 Parts of the body will point everywhere 504 00:40:29.213 --> 00:40:34.287 If the body spreads out in multiple directions like this 505 00:40:34.287 --> 00:40:38.687 Force will end up being dispersing 506 00:40:38.687 --> 00:40:45.624 making the movement seem weaker and without direction 507 00:40:48.792 --> 00:40:51.327 So that is why we need to use gesture drawing 508 00:40:51.327 --> 00:40:54.677 and lines of action 509 00:40:54.677 --> 00:40:59.316 because they help make actions much clearer 510 00:40:59.316 --> 00:41:02.960 Let's summarize what we learned this time 511 00:41:02.960 --> 00:41:05.215 First we learned 512 00:41:05.215 --> 00:41:09.225 about stylization, and drawing using transformation and exaggeration 513 00:41:09.225 --> 00:41:11.607 Then we learned how to draw gestures 514 00:41:11.607 --> 00:41:15.019 using exaggeration we just learned 515 00:41:15.019 --> 00:41:16.722 Congratulations on finishing this lesson 516 00:41:17.679 --> 00:41:19.379 The Concept of Stylization What is stylization? Altering the fundamental shape of the subject A character can be stylized differently as necessary 517 00:41:19.379 --> 00:41:20.979 Types of stylization Simplification: Expressing complex forms as simple geometric shapes Distortion: Altering the subject from its original shape 518 00:41:20.979 --> 00:41:22.560 Reconstruction: Taking certain aspects of the subject and rearranging them from a different point of view Exaggeration: Maximizing certain aspect 519 00:41:22.560 --> 00:41:23.810 Applying transformation and exaggeration Changes in proportion Change human body proportion by adjusting head size, leg length, & shoulder breadth 520 00:41:23.810 --> 00:41:25.060 Exaggerating form Exaggeration of facial features & body can help express character Simplification Bodies can be simplified into geometric shapes 521 00:41:25.060 --> 00:41:26.310 Altering form Keeping the overall body consistent and altering certain parts to highlight movement 522 00:41:26.310 --> 00:41:27.556 Exaggerating movement Elongating limbs or shortening them to change intensity of movement 523 00:41:27.556 --> 00:41:30.006 Gesture Drawing What is gesture drawing? Drawing that focuses on the movement and flow of people or objects 524 00:41:30.006 --> 00:41:32.466 How to draw in gestures Express curve of body using a single line Center the body at the line Draw the action line to be the longest axis of the body