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Hello, everyone.
We've finally reached the part where you can use a tablet.
Of course, the main game hasn't started yet,
but you still need to move your hands quickly.
As I mentioned in the previous lecture, you are not someone who can't draw,
but there are various reasons why you struggle with drawing.
One of the reasons is the lack of proficiency with a tablet.
A master doesn't blame their tools, but they are influenced by them.
Even a master will fumble more than usual with a tool they're using for the first time,
just like me with Wacom, iPad, Galaxy Tab, and other new devices.
At offline stores, I ambitiously pick up a tablet pad,
draw a circle or a few lines, and then I just stand up.
I find it difficult to use these new tools too.
I want you to avoid such situations at home,
where you bought a tablet,
but end up just drawing a circle and a few lines like me and then stand up.
So, let's take some time to get familiar with the tablet and learn about the brush strokes we'll use in this lecture.
I'm already excited.
Let's put this aside for now,
and first, let's look at the rules of brushwork.
The Rules of Brushwork
I talked about using pressure sensitivity to control opacity,
right?
There are two main things you can control with pressure: thickness and opacity.
I said that opacity is very important and will be used frequently,
let's take a closer look at what that means.
I'll show you something interesting.
This requires fine control.
You don't need to follow along with this part; I'm just showing you for a moment.
Let's compare these two.
Let's call this one A and this one B.
They look exactly the same, don't they?
Even if you check with the Eyedropper Tool, they're the same.
And if you check the color codes, they're almost identical, barely moving.
They're the same, but although they seem identical,
if we place them
on a background with a different color, not white like before, they change like this.
Then what is the grey color of A,
and what is the grey color of B? What's the difference between the two? Guessing correctly would be amazing.
The answer is that A's grey is a diluted concentration of this black ink.
Diluted Concentration of Ink
Then, what about B?
B is just this color ink at 100% concentration.
A is a line drawn by me controlling the concentration with pressure sensitivity.
Then, what color would the ink on the brush I used to draw this line be?
It would be black, right? Because this color appeared when I pressed the hardest.
So, my brush had black paint on it,
and as I pressed lightly, the ink came out diluted, think of it as coming out lighter and thinner.
Does this make sense to you?
We need to use A.
I mentioned earlier that we'll be using opacity,
and that's what I'm referring to.
So, controlling the opacity is the same as controlling the ink's transparency.
Opacity Control
This is the key point.
Let's set aside this example for now,
and look at how brush strokes overlap.
Instead of looking like this, they will look more like this.
You see,
as they overlap, they gradually get darker, approaching the color of the ink on the Brush.
This color here, if you press lightly, the concentration is light, so layering it repeatedly will naturally make it darker.
How much darker?
It will be as dark as the original color of the ink on my Brush.
For example, if I dipped my brush in orange,
no matter how many layers I add with the same method, it won't get darker than that original orange.
That's the principle.
You see?
Of course, you can use Opacity settings for this kind of opacity control,
but I find it somewhat cumbersome to adjust each time,
and, shall we say, the tablet's control,
sometimes there's a slight difference between the color I envision and the color that actually comes out.
So, I set Opacity to 100% and go with that.
By the way, Opacity in Korean is often written as 'transparency' or 'opacity.'
You can check that.
You can use anything comfortably,
but just know that I'll be using 100%.
So, what's the first thing we'll do with this brush that can adjust opacity?
It's starting with tonal blending.
Simply put, what you've been doing with the Air Brush,
we're now going to do with this basic Brush.
Create a new Layer,
and let's say we have a shape like this,
when we apply light and shadow like this,
to make you even happier,
I'll prepare a cute rabbit.
What exactly is tonal blending?
It's like applying a 1-degree shadow,
the kind of shadow often used in animations.
The biggest shadow, the one that lets us understand the mass of this character or object,
we put light and shadow like this, but if we leave it just like that, it becomes cell shading.
Right? If we clean it up a bit more like this,
to make it look more natural from this state,
we need this kind of tonal blending.
Like this,
it works best when the mind is free of worries,
now I'm focused, so I'm not talking much.
I wasn't this silent during regular classes, I must be quite nervous.
It's necessary to blend tones like this,
not just inserting shadows like in cell shading,
Of course, that doesn't mean there's anything wrong with cell shading,
Cell shading is often used to quickly, efficiently, and neatly show something,
which is why it often has clear, crisp borders.
But if you leave it like that, the forms might seem disconnected,
potentially giving a more angular feel.
So, for more realistic or semi-realistic styles, where you want richer tones and more volume,
tonal blending is beneficial.
It's also useful for detailed depiction and creating preliminary shadows.
So, we'll do tonal blending like this.
It's basic for various purposes, including detailed depiction.
That's why we'll blend tones in this manner.
Not just for volume expression but also for detailed depiction.
Let's start with something like this.
Here's how we'll do it.
So, how to go about it?
First, like earlier,
we set the shadows like this.
Let's practice with a straight line for convenience.
The brush will be dipped in this,
then gently reduce the pressure like this,
picking up this grey,
and gradually releasing the pressure,
picking it up again here and gently releasing pressure,
it will turn out like this.
You really need to pick these up.
You must pick up this and that.
Why?
If I've already dipped my brush in this,
no matter what I do, it won't smudge or anything, right?
Because my brush already has this on it.
But in this state, although this won't be affected much,
if I gently draw with the pressure still light,
a lighter, more diluted color will come out, right?
So, I'll smoothly spread it out like this.
Now that I've broadly set the area, let's see.
It falls off too sharply, right?
So, I'm going to soften this middle area.
Because it's falling off too sharply,
I can pick either one, it doesn't matter.
If you think the picture has become too bright, you should darken it a bit, so pick the darker side,
Or if you think it's become too dark, then choose the lighter side.
I'll pick the darker side for demonstration.
I'm doing this to erase the harsh line, using one of the adjacent colors.
I'll pick black for this purpose.
Then, gently,
since my Brush is already set with black,
no matter what I do, the black won't be affected.
But now, there's still a bit of a harsh line left.
So, pick up the color again and blend it smoothly.
Pick up the color again and blend smoothly.
Choose a nearby color to soften the boundary you want to blend.
Just like this, you can soften it up.
Let’s soften this part too.
Pick up the color and blend.
This is how you can soften the edges you want to blend.
Use the Eyedropper Tool to pick up nearby colors and apply them with your Brush.
Let's go in the opposite direction and brighten it a bit.
You can do it like this.
We’re going to soften these edges.
So, pick up the color and blend.
Pick up and blend.
Here too, pick up and blend.
Even with white, blend it in.
Calmly and patiently.
The more skilled you become,
look at this, if you’re not careful, it can get blotchy.
But you can always clean it up.
Nothing is impossible.
At first, like me, it may be rough and blotchy, but that's okay.
This is the basic way to blend tones.
Some artists refer to this as blending, and they're right.
Keep in mind to softly apply pressure and use the Eyedropper Tool to blend edges.
This will be the basic method.
Because mixing different methods can be confusing,
I almost use the basic Brush like a passive skill in a game, like a basic attack.
Now, you might wonder,
"Why do all this when we have the Gradient Tool and Air Brush?"
Of course, we’ll use those tools too.
But I'll use the Air Brush more than the Gradient Tool.
It’s useful when you need to apply tone very smoothly.
Even if you’re a master of pressure sensitivity,
there are parts that require a very fine touch.
For naturally transitioning areas or for very delicate blending, use the Air Brush.
Use the Air Brush when you need to apply tone very gently.
Even the best at pressure sensitivity have moments where they need to blend softly.
There are times when you need to blend very gently, and that's when you use the Air Brush.
Sometimes, you might use the Blur tool instead of the Air Brush for certain effects.
Blur, for reference, is like this.
I'll show you what Blur looks like.
This drop-shaped icon is the Blur tool.
It looks like this.
When you use it, it spreads like mixed water.
Both the Air Brush and Blur will be used according to the situation.
But for other techniques, try to use the blending method I just taught.
However, Air Brush can be tricky because it’s very soft and may not show density or texture well.
Air Brush smooths everything out, which can make it difficult to define shapes.
Air Brush, being so soft, can sometimes make it hard to control and express texture.
Use Air Brush only when necessary, like Texture Brushes.
Air Brush is a unique tool that should be used sparingly.
Therefore, it can be challenging.
Use it like Texture Brushes for specific texture expressions.
I recommend using Air Brush only when it's really needed.
Air Brush is a unique tool.
To use any tool effectively, the most important thing is skill.
The key is to increase your proficiency with the tablet.
I always emphasize this to my students.
But tablet proficiency isn't just about using it for a long time.
Experience doesn't always correlate with skill.
So, what should you look at? There's one thing.
Can you draw the line you imagine in your head?
And is the line you drew the one you envisioned?
In other words, your hand and mind need to sync up.
You need to become one with the tablet, so to speak.
You need to merge with the tablet.
Become one with the tablet.
When you first saw the curriculum, you might have wondered what that means.
It means to become unified with the tablet.
This is not only important for blending tones but also for drawing and adjusting in general.
Of course, this is a necessary passive skill for anyone doing digital drawing, not just with an iPad or any tablet.
It's crucial for digital artists to have this skill.
It's very important.
I would give it five million stars in importance.
It's extremely important.
Experience doesn't matter as much; though skills may improve slightly,
there's something more important to know.
You might say, "Okay, I get how important it is, but how do I do it?"
There's a practice method to improve this skill.
Whether you're new to tablets or just got a new one,
or even if you're trying a new Brush in Clip Studio or Photoshop,
this method is highly beneficial for beginners and those switching tools.
The first recommendation is copying.
Copying, as in writing out text or creating reproductions of artwork.
It's great for novels, scriptures, even English textbooks.
Start with copying instead of jumping straight into drawing.
It's better to get comfortable with the tools and program functions first.
Copying is challenging because it requires consistent spacing and size.
It's difficult because you have to maintain a certain shape while writing a lot.
But it's incredibly helpful.
You'll see significant improvement even after just one day.
Once you're comfortable with this,
and you feel like you've developed some calluses from using the tablet,
then I recommend line practice.
My students would sigh at this point,
because I make them do this until the 8th week of class.
And even after the 8-week course ends,
if students still seem to lack proficiency, I ask if they've done line practice.
Choose a Brush with a decent size, not too thin; the bigger, the better.
Peace of mind is important for this exercise.
Relax your wrist and start drawing lines.
Draw lines with consistent spacing and size.
It's challenging because you have to maintain a specific shape and write a lot.
And it's very beneficial.
It's really effective.
You'll notice a big improvement even after just one day.
Once you get used to it,
and feel like your hand is getting accustomed to the tablet,
here's a method for those people.
I recommend line practice.
If any of my students are listening, they might groan,
because I make them do this until the eighth week of class.
Even after the 8-week class ends, if a student's skills seem to be lagging,
I ask if they have done their line practice.
What is this line practice?
First, set your Brush to a not-too-small size, the larger, the better.
Here's what you do.
Use a Brush that can control density.
For this, inner peace is important.
Relax your wrist and start drawing.
You need to do well.
Draw diagonal lines in both directions.
Calmly do it.
When demonstrating to my students,
I sometimes listen to sutras.
Keep your mind peaceful and try this.
Create a square like this,
draw lines vertically, horizontally, and diagonally in both directions.
Pay attention to the following.
As you can see, it's good to match the lengths.
Don’t make one line long and the other short.
Try to keep the lengths consistent.
And try to keep the spacing consistent as well.
Don't have the lines too close and then suddenly far apart.
Think of placing them next to each other.
Some students make a checkerboard pattern,
which can be more difficult.
Keep the spacing between lines consistent, like a checkerboard pattern, but it's harder.
Line practice doesn’t need to be that meticulous; just place them next to each other.
It's okay if they overlap slightly.
Obviously, completely overlapping lines would be problematic.
The goal is to not completely overlap, but a little overlap is fine.
It's fine if they are slightly apart, just try to place them next to each other.
Just put them as close together as possible.
And also, pay attention to the density.
And most importantly,
keep the density consistent. Don't make one line dark and another light.
Maintaining consistent density is good.
This is because you're practicing to maintain consistent pressure and hand strength.
Why? Because we need to draw with varying densities,
so it's good to understand how much pressure produces what kind of line.
Right, that makes sense.
Think of it as a practice for becoming one with the tablet.
Anyway, doing this exercise with a suitable size is good.
Too large isn’t good either.
I usually make them around 500 x 500 in size.
Making squares of about 500 x 500, just for reference.
Now, about making these squares,
spending about 15 to 20 minutes on this before starting to draw every day
will definitely show good results.
It's not about making one square for 15 minutes but several squares in that time.
Some students initially take 15 minutes for one square,
but over time, they manage to make 3 or 4 squares in 15 minutes.
Meaning they spend about 5 minutes per square.
Don't worry if it takes you a long time to make one square.
Just proceed at your own pace.
This exercise not only synchronizes your mind and hand,
but also adds pressure sensitivity practice.
It’s also good for stretching and loosening up the wrist.
That's why I recommend doing it before drawing; it's like warming up your wrist.
Just as you do a light warm-up before a heavy workout at the gym.
Think of it as a warm-up exercise.
It’s important for the health of your wrist, as drawing with a tense wrist isn't good.
So, it's about loosening up your wrist.
Always make sure to do this exercise before you start drawing.
This exercise is not just about synchronizing your mind and hand, but also about practicing pressure sensitivity.
It also serves as a stretching exercise for your wrist, which is very beneficial.
So, it's important to always remember to do this before you start drawing, just like taking vitamins for your health.
You understand, right?
Let's move on to the next part of the exercise.
Now that you're familiar with the pressure, let's move on to the 3-step exercise that is highly effective for studying drawing.
I'll show you what it is.
Think of it as a warm-up exercise, essential for wrist health.
Drawing with a tense wrist is not good, so it's about loosening it up.
I'll shift these examples to the side now.
Now, let's look at the 3-step exercise for effective drawing study.
This is actually an assignment I use in my classes.
See this example on the left? This is just for reference.
What does that mean?
It means you should try to draw something like this example.
This exercise is about practicing tonal blending.
You need to create gradients using the basic Brush.
Let's see how closely you can match the example.
It doesn't have to be exactly the same, just use it as a benchmark.
Sometimes, starting without any reference can be confusing.
So, keep it as a light reference.
Then, what do you do?
It's an assignment where you practice tonal blending.
Right, it's that kind of assignment.
You use the basic Brush to blend tones like this.
Those who are perceptive might notice something unusual about this assignment.
Why? Because there are three parts.
See how I filled in here? What does that mean?
There's a lot of empty space, isn't there?
Yes, you need to do it three times.
Let's see. The instructions say,
First, no time limit for drawing.
Then second, there's a time limit.
And what does it say at the bottom? "Get the time from TT."
You need to get the time from me for the second part.
And the third part is like the first, no time limit again.
You'll draw three times like this.
First, I tell them to do the tonal blending to create the gradient.
After the students complete it, they show it to me.
They demonstrate how they did it and how long it took.
Then I set a time for the second part based on that.
If it took an hour, let's try 15 minutes next time.
Or maybe 7 minutes if it looks easy.
Or 20 minutes if it was challenging.
So, I set a specific time for the second attempt.
The second time is a time attack.
You have to finish within the set time.
After completing the second part,
the third part is done without a time limit again.
It's about blending tones again.
What's the purpose of this?
The first part measures quality.
It's about finding the best quality you can produce.
It's important because many of you might find it hard to know how far to go with a drawing.
Where does it end? How much detail is enough?
The first part helps you find out the best quality you can achieve.
The second part is about speed.
It trains you to work faster.
But it's also about planning.
The second part helps you practice how to plan within a time limit.
Based on the quality you know you can achieve,
you learn to manage your time and efforts.
Then comes the third part.
Again, without a time limit,
you blend tones for the third time.
This process helps you understand your limits.
How good can I get? What's my limit?
How can I improve within a set time?
Maybe it was challenging for you,
so next time, let's aim for completing it in 20 minutes.
That's how I set the time for the second attempt.
Once the time is set, you need to complete it within that time.
The second part is about time management.
Then, for those who complete both parts,
the third part is again without a time limit.
Try tonal blending once more.
This method has a purpose.
The first part is about assessing quality,
measuring the best quality you can produce.
It's crucial because you might struggle to determine how much to draw.
Where does it end? How detailed should it be?
The first part helps you understand your maximum quality.
Perhaps you can reach a quality of 100.
It's very important.
Because you might not know how far you can go.
Not knowing your limits is common.
How far should I take this drawing?
Where is the finish line?
Is this endless?
You might feel like you're in a never-ending battle.
And on the contrary,
you might be capable of a quality of 100 but settle for 20 or 30.
That's not very helpful for improving your drawing skills.
So, the first part is about finding out your maximum quality.
Wow, I can reach 100, or I can only do up to 80, or maybe 150.
The first part helps you measure the best quality you can achieve.
Then, the second part is about speed.
You work with a time limit to increase your speed.
But it's also about planning.
The second part helps you practice planning within a time frame.
Based on the quality you know you can achieve,
you learn to manage your time and efforts.
Maybe you realize you can achieve a quality of 150, or maybe just 50.
The point is to gauge the best quality you can produce.
Then, what about the second part?
Since there's a time limit for the second part, it's obviously about speed.
Speeding up your handwork is one aspect,
but it's also about planning.
The second part lets you practice making plans.
What does that mean?
You already know the level of quality you can deliver.
For example, you know you can produce a quality of 100.
It took you an hour to achieve that.
But then I say, "Let's do it in 15 minutes."
You have to plan how to achieve that same quality in less time.
So, if it took you an hour to reach 100 quality,
and I tell you to do it in 15 minutes,
How could this happen?
Not an hour, but do it in 15 minutes?
Since I've already tried once,
I know how to draw it and how much effort it takes.
But now I have to do it in 15 minutes, not an hour.
So, what should I do? Make a plan.
How can I achieve a 100-quality level in 15 minutes?
Then, I'll make my own plan.
Decide what to omit and what to emphasize.
This is how I'll do it, right?
This is very important for all of you.
Making a plan is extremely important.
If you want to study drawing more efficiently and effectively,
it's better to have a systematic plan than going unplanned.
Instead of aimlessly drawing hundreds or millions of sketches,
even a single drawing should be done with a plan.
That's why setting a time limit is part of the exercise.
It also significantly speeds up your work.
Students often wonder if it's possible, but they always succeed.
You can do it too.
Of course, the quality might drop a bit, but that's okay.
Just make sure to finish within the time limit.
If you do it within the time, that's more than enough.
Then, what do you do next?
Now it's free time again.
No time limit, just try it comfortably once more.
What happens then?
In the third part,
you combine the strengths of the first and second attempts.
It takes less time than the first,
but the quality is higher than the second.
The third part becomes your average.
This is how your true skill level is determined.
It's a great study method.
You can't always get time from me, right? 486
So, when you do this exercise on your own, try reducing the time to one-third or half of what it took you the first time.
If the first time took an hour, try 20 or 30 minutes for the second round.
That way, you'll find a balance between quality and speed.
The third round will likely take less time than the first, but with better quality than the second.
Thus, the third round becomes an average of the two previous attempts.
This becomes a representation of your actual skill level.
It's a fantastic method of study.
You can't always ask me for a time limit, right?
So, when doing this exercise individually,
try to aim for one-third or half of the time it initially took.
If it took you an hour, aim for 20 or 30 minutes in the next attempt.
Adjust the time according to your comfort level.
Especially if the first attempt took you very long, like 3 or 5 hours,
be bold and drastically reduce the time.
The 3-step method is truly effective.
Not just for tonal blending, but for improving physical skills in a short period.
It's also great for use in imitation drawings or regular drawing practice.
You can use it in various fields and feel free to adapt it to your needs.
I often use it myself when I feel my skills have rusted a bit.
And I'll attach this file after removing the part about getting time from me.
Even if you're already skilled, try this method when you have time,
and then move on to the next step.
Practice texture expression and practical exercises before moving on.
You don't have to do it right now, but practice enough before moving on,
including line practice.
I'll conclude this lecture here.
Try the Alpaco exercise after this.
You don't have to do it right now, do it after these exercises.
Do the line practice,
and then try the 3-step study method.
You'll feel twice as proud after doing Alpaco.
Rub your heads thoroughly
And then, when you have time, give this exercise a try.
Move on to the next step afterward.
Before we proceed to more focused practices on texture expression and practical exercises,
there's no rush to do this right now.
Just ensure you practice enough before advancing.
And this includes line practice as well.
This lecture will conclude here.
We'll end with the Alpaco exercise.
No need to do it right now; do it after completing these exercises.
After the line practice and the 3-step study method,
you can then do the Alpaco exercise.
It will be doubly satisfying.
After doing all this,
you'll feel a sense of accomplishment.
Give yourself a pat on the back.
You'll have earned it.
Rub your heads thoroughly, everyone.
And with that, I'll see you in the next lecture.
You've done well.