lOMoAR cPSD| 49981208
This is illustrator Sungmoo Heo. [Chapter 1] Hello.
This is illustrator Sungmoo Heo.
The first material to be attached today is the 'Detailed Review Notes'.
When you watch each class or draw, check these Detailed Review Notes.
We recommend that you inspect if there are any parts that you have not checked or missed.
We recommend that you keep it near where you work so that you can see it as easily as possible.
I will attach short comments and assignments to the necessary parts for future
classes. Please check these out and follow along. Thank you. (Chapter 1 file attached) [Chapter 2] Hello.
This is illustrator Sungmoo Heo. lOMoAR cPSD| 49981208
The material I will be attaching today will be helpful for the foreshortening
exercise explained at the end of the video.
While drawing a cylinder on the image in the file, check the degree of
foreshortening depending on the angle of the figure, the position of the camera,
and the change of the floor surface.
When time permits, I hope you practice arranging the various angles and sizes
of cuboids utilizing the sense of space, as in the second example picture. Three-
dimensionality is a type of sense, therefore, it is difficult to enhance it in a short period of time.
Only continuous observation, practice, and constant feedback are the only ways to gradually improve.
If you constantly try to solve the rising curiosity about this while continuing
your drawing journey, you will surely have your own tips and expressions. Thank you. (Chapter 2 file attached) lOMoAR cPSD| 49981208
This is illustrator Sungmoo Heo. [Chapter 3] Hello.
This is illustratorSungmoo Heo. Today we learned about lines.
Attached is a material that you can practice drawing along the size of A4 paper.
Try to print it out if you can and practice it on physical paper or on a different
piece of paper while checking the length of the image.
Also, we’re going to talk about the tips for keeping the lines concise once more
when practicing croquis in the next chapter.
Please check it out and practice with croquis.
A good line is strong in itself.
I hope you study the expression of lines while viewing various paintings
together and explore your own expressions. Thank you. (Chapter 3 file attached) [Chapter 4] lOMoAR cPSD| 49981208 Hello.
Today, I have attached the material on the process of making croquis.
Even if you don't go through the exact same process, take your time to practice
catching simple lines, grasping the overall proportions and movements, etc.
After you have progressed enough, take time to earnestly practice croquis.
Croquis is undeniably one of the best exercises.
It’s not recommended to addictingly only do croquis.
I hope you can study and practice in your spare time so that you can use it in your work and keep going. Thank you. (Chapter 4 file attached) [Chapter 5] Hello.
This is illustrator Sungmoo Heo.
Today, we learned about how to balance the human body.
It is expected that you, who are taking the course, have a variety of styles that you are aiming for. lOMoAR cPSD| 49981208
This is illustrator Sungmoo Heo.
We recommend gathering your favorite style characters and analyzing the
proportions and balances to identify what differences make an attractive and
well-rounded character. It also takes enough practice to be able to strike that
balance right away in a variety of poses and angles.
If you get used to it to some extent, it will not be difficult to create an
appropriate deform. Thank you. (No file) [Chapter 6] Hello.
This is illustrator Sungmoo Heo.
Today we learned the tricks for figure drawing (geometrically).
Figure drawing is one method to help draw with ease.
If you can't apply it to your creative activities, it’s no better than having no knowledge.
Please make it a habit to utilize it.
A good method is to interpret photos and apply them while creating. lOMoAR cPSD| 49981208
Always ponder how figure drawing aids in drawing and which standard is effective to proceed with. Thank you. (No file) [Chapter 7] - [Chapter 8] Hello.
This is illustrator Sungmoo Heo.
Today, I have prepared reference material that divides the head of a person.
The head of a character is slightly different depending on the character, but the overall context is the same.
Rather than changing minor aspects like the attached material, the important
curves that were mainly explained today should be reviewed and practiced
through other materials. Also, if you make a habit of checking the changes on lOMoAR cPSD| 49981208
This is illustrator Sungmoo Heo.
the same side when drawing, you will be able to draw a little more easily when
drawing a face from any other angle. Thank you. (Chapter 8 file attached) [Chapter 9] Hello.
This is illustrator Sungmoo Heo.
Today, I focused on the eyes among the features of the face.
It is very important to draw the eyes attractively as it is the most representative
window for expressing the feeling of a character.
Observe and refer to the eyes of various styles of characters, and practice
expressing attractive, three-dimensional eyes.
In particular, in the case of the frequently used front, side, and half-sided eyes,
it is important to understand the context well by paying attention to the degree
of foreshortening and the expression of occlusion. lOMoAR cPSD| 49981208
Even if the eyes are different, the degree of shortening and the general feeling are the same for everyone.
It is also very helpful to detect changes by turning and analyzing your face in a mirror. Thank you. (No file) [Chapter 10] Hello.
Today, we observed the rest of the features other than the eyes.
Please try sketching the character's face from various angles while considering
the appropriate expression of omission, change of planes, and foreshortening.
In particular, practicing making a sheet, such as drawing a character from
various angles or changing facial expressions, is very helpful for this.
As in the comments of the last time, you can get a lot of help if you check the
surface that changes with the angle through a mirror. Thank you (No file) lOMoAR cPSD| 49981208
This is illustrator Sungmoo Heo. [Chapter 11] Hello.
This is illustrator Sungmoo Heo.
Today we learned about the process and tips for drawing the hair.
The material I'm attaching is reference material for the hair that I interpreted after looking at the photos.
It is quite difficult to express it by defining with shapes/planes while looking at the real-life image.
Suppose you become proficient in defining shapes while referring to materials
such as animation figures. In that case, you can easily recall the process of
simple shape-complex shape-description in a real-life image. Thank you. (Chapter 11 file attached) [Chapter 12] Hello.
This is illustrator Sungmoo Heo.
Today, I drew a character from various angles with facial features. lOMoAR cPSD| 49981208
Faces come in different depths and shapes.
It is also the most exquisite part of our perception.
Even a few millimeters difference can change the impression of a character.
So, while tact is important, it is also very important to know the shapes
carefully and apply the knowledge.
Please practice while checking out what aspects of your main style character
are different from the character you drew today. Thank you. (No file) lOMoAR cPSD| 49981208
This is illustrator Sungmoo Heo. [Chapter 13] Hello.
Today, we explored the attractive elements of the character and find out what
elements can create various styles.
In addition to that, you can decorate an eye-catching appearance by using
colors, facial expressions, and other objects.
It is always important to find out what the secret is in the drawing by constantly
appreciating and interpreting the drawings you like because there is no right answer.
If you can quantify and express the charm you feel, you will be able to fully
incorporate it in your own drawings. ) lOMoAR cPSD| 49981208
This is illustrator Sungmoo Heo. Thank you. (No file) [Chapter 14] Hello.
This is illustrator Sungmoo Heo.
Today, we learned about the shoulder joint, neck, and shoulder muscles.
It is a part that can be easily overlooked if you always draw similar characters,
so please keep the simple but important shoulder and neck expression in mind while drawing the character.
In particular, the shoulder line that is hidden or visible depending on the angle
change is the key to convincingly expressing the altered angle.
I hope you understand the muscles while also considering the thickness and balance. Thank you. lOMoAR cPSD| 49981208
This is illustrator Sungmoo Heo. (No file) [Chapter 15] Hello.
This is illustrator Sungmoo Heo.
Today, we studied the muscles of the upper body.
I am attaching material that allows you to understand the location of the major
muscles that I’ve mainly explained at a glance.
I would recommend keeping it close to where you work and checking it regularly. Thank you. (Chapter 15 file attached) [Chapter 16] Hello. ) lOMoAR cPSD| 49981208
This is illustrator Sungmoo Heo.
The attached material is the location and process of the major arm muscles and
the arm pose figure that you can practice with.
Mark the position of the landmark on the arm figure - try to connect the
muscles, and get used to the sequence little by little. Thank you. (Chapter 16 file attached) [Chapter 17] Hello.
This is illustrator Sungmoo Heo.
Today, we learned a logical way to understand the hand.
Besides that, I hope you don't neglect the practice of composing and
understanding the big picture while practicing hand croquis. lOMoAR cPSD| 49981208
This is illustrator Sungmoo Heo.
The material that I am going to attach today is information about the process of
hand croquis that should not be neglected even if it’s simple.
I hope you can study the process of drawing hands in various ways from many
directions utilizing the reference. Thank you. (Chapter 17 file attached) [Chapter 18] Hello.
This is illustrator Sungmoo Heo.
Today, we learned about the muscles, mass, and flow of the legs.
I have attached material that can help you understand the location and shape of the major muscles.
Please refer to and study it while drawing. Thank you. ) lOMoAR cPSD| 49981208
This is illustrator Sungmoo Heo. (Chapter 18 file attached) [Chapter 19] Hello.
Today, we learned about the expression of feet and shoes.
Even if the design and movement of shoes vary, there is a consistent expression
technique, so please remember some of the principles in the course.
Please apply these and draw more detailed feet and shoes by referring to the reference. Thank you. (No file) [Chapter 20] Hello.
This is illustrator Sungmoo Heo. lOMoAR cPSD| 49981208
This is illustrator Sungmoo Heo.
Today, we learned about body design and deformation.
It is important to draw a beautiful character, but giving a deformed shape in a
balanced way can also give interesting changes to the character.
Because it is an image that does not exist, there is no right answer.
However, it is important to observe a lot of other common deformed images in
order to draw them comfortably and convincingly for the eyes.
If you are too conscious of the expression of detailed muscles and clothes, it is
difficult to develop into a stable form.
If you always start with large chunks and shapes and increase the details, you
will be able to deform a little more easily. Thank you. (No file) ) lOMoAR cPSD| 49981208
This is illustrator Sungmoo Heo. [Chapter 21] Hello.
This is illustrator Sungmoo Heo.
Today, we learned about the basic principles of poses and the interpretation of various poses.
Vibrant poses start with solid proportions and lumps and finish with thorough
adjustments. If you learn big changes and silhouettes through croquis and make
detailed poses with fine adjustments through figure drawing, you will be able to
draw a person in a vivid pose concisely.
I hope you will consider and practice the above two exercises on a daily basis. Thank you. (No file) lOMoAR cPSD| 49981208
This is illustrator Sungmoo Heo. [Chapter 22] Hello.
Today, we learned how to change the angle.
A character standing still can be drawn through a foreshortened and universal
image, but if you add a pose, you need to apply it accordingly.
Always consider the position of your gaze and practice how much depth cues,
such as foreshortening and overlapping work, and how to define a large
silhouette through constant croquis practice. Thank you. (No file) [Chapter 23] Hello. ) lOMoAR cPSD| 49981208
This is illustrator Sungmoo Heo.
This is illustrator Sungmoo Heo.
Today, we learned about the principle of wrinkling clothes.
If you look at the image, you can observe irregularly and delicately falling
wrinkles in addition to poses and environmental factors.
Since one cannot be regarded as the correct answer, it is important to draw
naturally while dissolving three-dimensionality and flow into the work.
As we draw, the ultimate goal is to present persuasiveness and appeal.
Therefore, I hope that you will observe and express through croquis of people
wearing clothes of various poses and textures. Thank you. (No file) [Chapter 24] Hello.