You can always think of the background as consisting of the foreground, middle ground, and background. What this means is that in the very front, there is the largest background. So, it looks something like this; it’s a bit darker here. The closest layer is the darkest, and then we’ll create another layer to work underneath it comfortably. Next, we will draw the middle ground. Here, there is a path, some weeds in the back, and then trees, like this. Let’s call this the middle ground. Then, we will move on to the background. The background is completely further back. We’ll lower it to the bottom and change it into one layer. It would be good to change the color to make it darker. Let’s try to keep it at 100%. This layer is even further back, meant to separate the very back, so you can think of it that way. The trees should also be a bit smaller.

Shall I do it like this? A little brighter than here, like this. If you look at it this way, you can see it roughly. The closest one is here, and then the next closest is here, and then this one is close too, right? So, this one is number one, this one is number two, and this one is number three. You can see it in that order. It looks natural as it gets further away. So, for the one at the very back, you can add a slight blur; it's okay. After all, we are trying to express the feeling of being very far away, so a little blur is fine. Here, the person is at number two, in the middle ground. So, how does the person look? They are in the middle at number two. That way, the person will stand out well, and you can also add a bit of blur to the one in front. Since it's at the very front, it’s okay to have a bit of blur there too.

When the background is slightly blurred, the center stands out more, right? In this case, the second element is very noticeable, so naturally, people's gaze is drawn here. The third and first elements are not as eye-catching; they serve as supporting elements. So, the second element is always where I draw the characters. The first and third elements are used to provide a little bit of relief. In the case of the third and first elements, the sense of distance is quite pronounced. These aspects can be difficult to draw at first, but it's important to always think about them while drawing. You should divide the front, middle, and back into three parts and draw them separately. If you're having trouble using colors, you can paint everything black and then create a layer in between to add some details like this.

Now, let's create another layer and add a slightly different color. For example, if we think in terms of color, let's try adding a screen here. First, we'll create a layer below the closest foreground layer and make a screen. It doesn't have to be a screen; it can be something that fits well here. Since it's a green color, I'll try a gradient from green to blue. We'll gently add one here. That creates a bit of distance in the background, right? 

Then, for the second step, let's create another layer between this layer and the one below it, and we'll also make it a screen. Let's give it a nice screen effect and add another one like this. Now, it looks separated, right? The front, middle, and back are a bit spaced out. It would be good to make the one in the back a little lighter.

If it turns out that the same thing is dirty, it falls down. Then, above that, there is the person I mentioned earlier. This way, a natural sense of distance is created, and that person stands out well. So you can think of it as three things drawn like this. However, the challenge people often face is how to do this in an indoor setting. Outdoor settings can be done like this, but what about indoors? For indoors, you just need to change your thinking a little. If you look at it this way, it's simple. Imagine the main character is at a desk, using a computer. So, there’s a chair and the character is working on the computer. In this case, the main character is in the center, and the view has to go towards the main character, which is the perspective. I will soften the front a little, like this.

You draw the monitor up close, like this. This monitor becomes the foreground, as it is in front of the main character. This is the foreground, right? And behind the room, there are background elements. What should I say about the back? There might be some clothes hanging on a hanger, or there could be a window, among other things. There can be various elements, right? Those would be considered the background. 

I’m not entirely sure what it is, but I’ll roughly sketch it out, assuming there are some items. So, that would be the background. This can be seen as layers one, two, and three. However, there is a gap in the middle. As I mentioned earlier, we can blur layer three, right? We don’t really need layer three. Even if it’s far away and blurry, it can actually have many advantages, as it enhances the main character's field of vision.

Because it's far away, right? The foreground can become blurred. The foreground can also be less distinct, right? Ultimately, the background is important, right? The protagonist in this scene is important. Since this scene is important, the foreground can help highlight the middle ground. So, in many cases, the foreground is not drawn much in comics. Often, artists don't pay attention to it and tend to ignore it. Usually, in the middle ground and background, even if we draw a person, right? When we draw a person standing and having a conversation, the background becomes the distant background. So, we end up only drawing the middle ground and background. As I explained earlier, we often don't draw the foreground in comics, but this kind of atmosphere...

If you want to express something, it's better to include a foreground element. The foreground is difficult to articulate, so we refer to it as 1, 2, 3. In any case, having a foreground helps to capture that feeling more easily. The same goes for this situation. If there were more spaces here and I could draw the shoulder line of the person in front, then that would be number 1. This is because it can be slightly blurred; it's okay if it's a bit unclear. The foreground and background can be like that, right? It’s fine if it’s a bit blurry. However, this one cannot be blurred, right? This one is speaking, and it serves as the focal point, the reference point. All the action revolves around this person, and they are currently speaking. Therefore, it shouldn't be blurred. If it can be blurred, then it would be a background, not a foreground. So, that’s the foreground.

You can see the distant view. This becomes number one, number two, and number three. You can blur number one and number three, but you can't blur this one, right? So, it always progresses around number two, the middle view. It's the same at night; however, it’s better for it to be a bit reversed at night. The farther away you go, the darker it should get. There’s something like that. If there’s light in the back, it’s okay. In a forest like this, if there’s light in the back, you can create a bit of light coming from this side, but the farther back it goes, the less visible it should be. So, when we draw the distant view, it’s good to think that the color of the sky gradually becomes the same as the background. If you think like this, then for the objects that are closer, you can draw them in their own colors, darker. Let’s try drawing a building like this, close up.

You can draw the objects in a darker shade. The ones in the middle can have their own unique colors, but the ones that are farther away should resemble the color of the sky. This way, they appear very distant and larger. To explain it simply, if we consider it like this, the colors of the objects gradually become similar to the sky as they get farther away. At first, they may not seem very distant, but as they blend with the sky color, it creates an effect of atmospheric perspective. The more they blend, the more they appear to be in the background. However, what about at night? The color at the edge of the background should match this; as you go further back, it should get darker. So, when we paint the night scene, we should consider the background colors.

What is in front is actually the shape of the building, and you can see that. How do we depict what is far away? We just sketch the lights here and there, right? If you want to draw the upper part a little, you could give it the shape of a building like this. Then, you can gradually blend it with the sky. When it’s complete, it will gradually fade. So, the drawing itself can be seen as a kind of gradient, right? Dark, medium, bright—there’s this gradient. The background is drawn in a similar way. It could be a gradient from top to bottom, or if we draw a wall, we can say this is a wall. Even if it’s a wall, it shouldn’t all be the same color. You can still create a gradient effect in that too. It’s that simple, and then the main character...

Here, let's say the main character is positioned in front of us, and behind them is a wall. We can draw this wall with a gradient effect. It's a basic technique. Additionally, we can incorporate shadows to enhance the illustration. This gradient effect will make the drawing look more natural and beautiful. Furthermore, we can express the imperfections of the wall, such as cracks. These details can be added gradually later on. If there are noticeable cracks in the wall, it might not look appealing. As we move upwards, the imperfections, like cracks or holes in the wall, should decrease. It's acceptable for there to be more imperfections at the bottom, allowing for a natural gradient effect. This way, the drawing will appear more realistic and aesthetically pleasing.

Everything has a gradient. It's a slightly dark night, and everything looks the same. Even on a dark night, there should be a bit of gradient. That makes the painting look pretty. So, you always have to think about the direction of light. Naturally, since the light comes from above, the top part should be a bit bright, and the bottom part should be a bit dark. Conversely, if it's a night scene with light coming from below, for example, if we consider that the light is coming from below, then the background should gradually get brighter towards the bottom. And if you want to add shadows, you should create a feeling that the light is rising from below. This way, the overall atmosphere matches and looks beautiful. So, always include gradients.

According to the reflection of the light, it should be done this way to look beautiful. The gradient applies to everything. When we draw a tree, we draw the trunk like this. If we draw it this way, then the wrinkles here, here, and here should not all be the same. If the light comes from this side, then the wrinkles on this side are thin and faint, and not very pronounced. As we go further back, the wrinkles and the tree patterns gradually become stronger. The pen strokes become bolder, and as we move towards this side, they become lighter, with weaker pen strokes. The further we cross over, the stronger and darker the pen strokes get. We need to keep expressing this. Then, as we move over to this side, the light naturally becomes brighter. The background should be drawn in the same gradient way. Just think of it this way, and it will look beautiful.

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