The image to be modeled today, Ive Jang Won-young! Let's get started. Okay, let's go. Let's go and explain.

First of all, you need to start with the background color or something like this and compose the composition. I think it'll work with a color like this.

Color! I'll just have to think about what size I'm going to draw now.

Roughly, hair doesn't really matter, so I think it's easier to draw if you cut your hair like this in advance while thinking about the proportions, so if you ignore the accessories and think about the drawing order, it'll be easier to access these things.

It's the same thing. Similar to when I was playing croquis. I don't see people as people. I don't see people as people. This is how these colors are connected.

I can just think it's all gray at first. What's the color of your face like this? Doesn't it look bad?

When drawing this, you have to look at the big features first, so look at the biggest one first. After this color comes out, the thing we need to look at is the nose or something like this.

Suddenly, those big features appear first. Pay attention to the outlines or too detailed shapes from now on.

Let's not use it. The position of the chin and things like this can change a lot later on. Rather than worrying about it now, I'm just looking at something completely big like this.

If you've done this, you won't need to do this step I'm adjusting now .

Look at how similar your eyes are, and these things aren't difficult for you anymore. Well, in the end, what you're having a hard time with is how to connect these midtones.

I tend to have a little more difficulty with those details.

And you can look at the chin line like this at the beginning. I want to quickly distinguish the hair here, but leave it alone. You can just squash it here.

It'd be nice to show you this, but when I draw this, it's really hard to see and draw when I paint it later.

Now I have to think again. It's easier to mark in advance and then remove it when coloring.

That's why I showed you how to paint it this way. Let's take a look at these things thoroughly. Let's take a look at these things in advance. Now, let's take a quick look at the jaw line because it feels like it's connected to the bottom of the jaw line.

It's like this. You can arrange it like this.

It's fine because you've made the shape like this. I'll draw it, take it to this eye. Let 's draw this eye for once.

I like to draw with a standard set like this. I did this to compose the overall balance, and I think the rest of the things that are slightly distorted can be drawn with this reference point set.

You can do it, but now I'm drawing as much as possible for reference right now, so I 'm not zooming in much.

While I'm painting this, you're doing something for study purposes. The change in the palette changes the color more subtle than I expected.

Makeup is perfect before pre-painting the part. I put a little pink color on it first, and then, here too, the highlights are constantly appearing at the point.

At first, you can't see all these features.

It's starting to feel. When one standard eye comes out, it'll happen soon after that. It's a copy, and the color doesn't quite match.

As for the story, I always talk about it. You have to divide it by color saturation and brightness HSB.

For example, the color doesn't seem to fit right now. I think it's a bit more turquoise than him. I'm going to lower the brightness in this part.

I only did that with the brightness, but it seems the saturation is a little higher. Then, at the same brightness, just increase the saturation a little more.

I keep comparing it while doing this. I'm giving it to you. You can see the color changing now with a subtle difference.

Paint this color. I tried it, but it seems brighter than that, so I only increase the brightness. I keep comparing it like this and adding the paint.

You have to adjust it very finely. Because we have to match the overall feeling, we have to look at the level of detail together.

At first, I just made one eye as a measure of completeness.

It's good to see things and look at them in this way. It's good if you can feel the physical thing. In some places, it's because of shadows, and in some places, it's because of subtle changes in curvature.

I don't think it's going to happen, but I can feel it when I model it like this.

Why is this part so dark? There's no reason to darken, but I'm thinking about this.

Oh, it's because of the shadows from where it comes from. Here, it's because of the minute curves.

I feel these things and practice. Well, you can practice like this. I think the color in this area is less saturated than what I'm painting now.

Then, choose this color. Then try lowering the saturation with the eyedropper like this. It's getting brighter. The color is so I'm going to pick and paint this color that makes it slightly darker.

But it seems to have more color than that.

I think it's a red color. I'm trying to change it. I think it's a bit more similar.

You don't need to be extremely precise yet. Why? It's a large area of paint. Of course, it's different when you look at it every little detail.

That's why it's said that this is enough for now. Think about it everyone.

I'm painting right now. What is human skin like? How would you look if you looked at a person's face that close?

You can see the family's tissues on the skin one by one. We don't draw those things. We ignore them because they are too small to see well.

Of course, each element is actually divided, so if you want to see the differences, you'll see them all. This is not the stage to look at the details!

You have to imagine the stages in the drawing like that. I will draw all the features from the very beginning.

You may think that you draw them all, but you never actually draw them all. I mean, it doesn't make sense to say that you can go into more detail and do something like this.

In principle, to say that I draw him properly is a much higher concept in my opinion.

It's a bit big to show you guys today's model, but I myself feel a little bit bigger while doing this.

I can study like this once through a model like this. How about it? A pretty similar image is being created without magnification.

Therefore, if you draw delicately from the beginning, it is not easy to match the symmetry. It is not me who measures the exact position from the corner of the eye.

I want to feel like a chimney, haha. It's so hard to draw symmetrical.

I'm honestly a little afraid now, then I'll make it a little bit bigger. First, with a thick line and a thick line, the approximate position of the eyes is set.

It should come, correct the margin of error, add a little highlight, and it seems to be connected to this color, but it doesn't spread like this, but it's sparse.

This thick color and this. One of the most difficult parts for me is this ball. It must be difficult to express this kind of ball, but there are so many different colors in the gradation that it can be expressed very easily by using a texture brush.

Use this smudge tool and rub it together. I think that connecting only the balls to the nose here will be done later, so I only connect the balls smoothly like this.

I only connected the parts of the balls and the colors here. I haven't connected the back part here yet.

Choose a color that is important to you. You can choose a color like this. Make it like this after the sun goes down. Release it with the smudge tool. After that, I'm going to add a little bit of detail with a touch of the ball for the third time.

Once the detail is up to this level, it's easy to upload it later.

It's a bit more vivid color than the one shown here. I'm going to slightly increase the saturation to make the orange glow.

What happens if I just increase the saturation? It gets dark. When the saturation goes up , so the brightness goes up slightly like this, and I paint this color like this.

To make it blend naturally, it's good to use a smudge .

This time I use a texture brush to put it in. Let's try to guess it. It's like this again.

Unpack it with the smudge tool, and then clean it up one more time at the end. Then the slightly dark things will naturally connect to this part .

Is it okay if I do it? Now, here and there, it's finely rounded like this? I take the overall color first, then use the smudge tool to loosen it up.

Then it comes out smooth like a single area. After that, you can do some fine processing. The lips are very detailed.

Don't try to draw everything from scratch. Even when you paint, now everyone sees different colors. Actually, you look at it with your eyes wide open.

It's a mosaic effect. You can paint the approximate color like this. It's not that you think you're going to draw the same thing .

You replace it with a texture. If so, it's easy to handle. We're not going to draw everything. We're going to keep repeating it.

In fact, what I've been saying before is almost the end of it. I know the difference I know the difference between the ignorance model and the thinking model.

If you do it this way, it will be more practice.

It's okay to draw just because I think she's pretty. Why is she pretty? The skin was so pretty, then I tried painting the skin like this, and now I can feel what the color was like this.

I think it would be better if you don't paint in vain until the end, and paint while comparing the colors.

Our eyes are really good at deceiving. There are a lot of optical illusions.

It is easy to be wrong if you do it this way, the original is firm. I'm not magnifying it anyway.

I'm going to draw with this detail anyway. Because of that, I'm going to draw a little more clearly than just magnifying and tidying up.

The lines are almost straight, for example, and things like that. Also, I can add detail with a brush that is about 1px now, but that's not the case.

So, I'm just giving a slight mark with this blurry color. Also, the colors were changed and I mimicked a real photo, but the feeling is that digitally awkward feeling.

I prefer the texture brush because of the digital awkwardness!

When doing this, don't use the eyedropper too much anymore. The color keeps changing from time to time. You have to keep focusing on how it changes.

That way, you won't get a strange color. It's not a joke. It's delicate. Baby who can take on, haven't I changed today?

You have to be a man who can answer this. When you describe something like this, you will use the eyedropper a lot.

Check yourself to see if you are using it in ignorance. I can't see it clearly, so of course I don't draw it clearly.

It doesn't matter. Now, I want to make it look like this. Now I've painted the eyes, nose, and mouth roughly.

Then, use that. Then, use pixelated fluidization. Are you digging a grave? I'm curious, but it doesn't really fit.

Don't they overlap? Why don't they overlap? Can't you believe it? It doesn't fit very well.

I've been talking about it before, but it's important to be accurate. Oh, but I want to match it. I'm angry.

The nose doesn't fit very well. The nose length has shortened a lot. Don't dig a grave, indulge yourself. And I'm watching it alone.

Everyone, do you know how I got on this floor? You shouldn't do it that way, but can't you change the length of your nose?

I really want to change the nose length. Let's change the nose length. Honestly, , it's pride and you already knew that.

I have no choice but to change it. I'll just go down two spaces. I'm sorry.

Yes, it's the same because the nose length changes. I'll just fix it up to this point and now I'll explain how to finish this drawing.

I draw only parts of it. Now, these guys have painted us step by step. The rest of the face is now less than the level of the face.

The rest of the parts are made up to the middle level. Of course, it would be nice if you could draw all of these hands, of course, but if not there, you can make it like this in large units like I did now, or not draw it.

To be honest, it doesn't matter if you don't have this. For the clothes part, I draw the best I can draw with this brush right now.

Considering how to draw here, I think I can draw a line like this. I'm going to try to process it once with a method like this.

It's not going to be the same anyway. You don't have to draw the same thing.

The hair is not the part where our concentration is that high. So in the first place, no matter what we draw with a little dryness or what we do, from the point of view of the viewer, if they are similar, they are similar.

It's going to look cool. It's just like this with these two colors, right?

It's not like I'm just drawing the same thing in a big way, but it looks plausible even if I just keep the feeling alive like this.

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