Although it is called the second half, the second half is actually about how Meng Xin starts practicing.

1. Review and supplement

Let’s review the first half. By the way, I added some things I didn’t understand in the first half. After all, 3 hours of high-intensity content hit my brain, and many things may not be fully understood.

1.1 CSI

Limit yourself to three CSI strokes when drawing shapes.

1.2 Copying habits

Although teaching is to draw the big frame first, but we copy their own, or will develop their own unique methods.

Like the picture above, the movements are complicated. When you grab the shape, they teach you to draw a big frame, like this:But eventually you’ll have your own habits. For example, if K is big, I’m going to go straight in and look for something like a slope.

1.3 modeling

1.3.1 perspective

• I started by looking through simple things, like squares.
• The next step is industrial perspective. You can see that there are a lot of curves, that is to say, copying to be skilled.
• The body can be further decomposed and assembled.

1.3.2 dynamic

Line of Action:

This kind of line usually appears more in the quadratic style.

You can see that this line is also CSI, so CSI is really important.

2. Render supplement

Pick up where we left off last time.

2.1 Focus strategy (color matching related)

We want to make an object stand out in the frame in four ways.

2.1.1 Saturation/color contrast

The saturation or color is different and it’s easy to notice.

Cold and warm, too.

2.1.2 Brightness comparison

Deliberately adding black next to white for contrast.

2.1.3 Visual guidance

There are many lines to guide you.

2.1.4 Sharpness and blur

An example 2.1.5

In this picture, for example, earrings are the focal point:

Don’t ask why the earrings glow, it’s to make the picture look good.

If we change the color of this picture:The line of sight changes and the order of reading changes. We naturally look at the neckline first.

And if we want eyes -> lips. Add bold colors to the eyes and lips as well:

So a lot of color matching is used to control the focus of the picture. Give armor a yellow, for example, and the eye will be instantly sucked out of the armor. If you add a little yellow to the background, the eyes are barely distracting.

2.1.6 in turn

In fact, a lot of time is not necessarily inconspicuous foil conspicuous. If a lot of a picture is conspicuous bright colors, then inconspicuous dark colors will be conspicuous.

But even so, light against dark is still less conspicuous than dark against light.

2.1.7 Special conditions (white, black, skin color)

This modified image actually has no contrast colors.

Although there is white, skin tone and black so obvious contrast color. But because these three colors appear so frequently, there’s really no contrast.

So let’s modify the saturation a little bit to get a slightly sharper contrast:

Then change the level to color, so that the contrast directly increased (now there is warm contrast) :

But now there is a problem, there are too many colors, the colors are messy, not nice. So by removing a lot of color, the focus of the head becomes more concentrated.

But there was still a problem, we wanted to look across the painting, so we hid a bold color underneath (left knee) :Instead of focusing on the head, the eye alternates between the head and knees, balancing the vision.

Another trick is if you want to look at your knees visually, but you still want to end up looking at your head more. Then you can adjust the color of the knee so that it’s slightly less prominent, but more prominent than the other colors.

2.1.8 Total information content of the screen

An image must contain enough information to attract and interest us.

• The shape information
• Lightness information
• Color information
• Structural information
• Material hint
• Ambient light color and intrinsic color information
• Air information

For example, some people, sketch, it is the pursuit of light reflection, what point light source surface light source, must be extremely true lighting. You don’t have to. There are many different ways of expressing information. Let’s put it this way:

To sketch, there are three kinds of information:

Shape information, tone information (gray scale), edge information.

Many people will find that when you make the edge information too much (like blurring the edges in many places), you will find that the shape information is reduced. So overall, the level went down.

So the goal should be to balance each piece of information, and not to over-enrich one piece of information (which will lead to the loss of other information). That is, the pursuit of a medium. The edges, for example, should not be too sharp or too blurry.

2.1.8.1 Air Information

Dim at a distance, clear at a distance.

As you can see, there’s not a lot of detail behind it, but there’s a lot of information. Because there’s air information, light information. If you only paint details, not air and light, it’s not that informative.

Air information is a kind of false detail. The picture above does not depict details, but it reminds people of them. You can see that when adding air, there are also some looming Windows, which is also to make people think more.

Off topic: I feel my pixel art can take more air information into account to make up for the details.

2.1.8.2 Inherent color information

Take a look at this picture:



Here you can see that the thighs are yellow, but the face is not. And why the thighs were photographed the same color as the hair. You can’t tell the color of your thighs, and so can your breasts.

So this picture, in fact, loses a lot of its intrinsic color information. This is because there is too much information about lighting.

2.1.9 Variable color matching

We have this fascinating painting:Then we take the red out of the eyes and the bow:This is when purple is most attractive, so we take it out:

Then we can make changes to the overall smooth color drawing, which can have various results:

2.1.10 Analysis of giant paintings

A painting of the giant Mizanwu:There are many ways to highlight the focus:

1. Color, face color warm colors, other cool colors. (Also a bit of warm color in the upper right hand corner to make the vision jump, but jump back quickly)
2. Visual guidance. It’s too obvious. It’s the lines.
3. Chiaroscuro contrast. When you set it to grey scale, you can see that the most light is on the face of the savior.

2.1.11 Improve a picture

First, there was this painting:

To be honest, my eyes were mostly on mailboxes and flags, and I rarely looked at the main character’s face. So the improvement steps are as follows:

First, change the reflection of the mailbox and railings to red, so that the focus goes up because of the blue background of the sky.

Also, add blue to the eyes of the main character. So in the middle of the big pink, the protagonist’s eyes stand out.

But now there is a problem because the logo on the flag next to it is very obvious. And the mailbox is still a little conspicuous. Let’s change it like this:

• First, I fogged the lower left corner to make the mailbox less conspicuous.
• The logo is cut up by adding some petals.
• When the obvious things are not so clear (fog, and petals cover cut)

The results are shown below:

2.1.12 Configuration of Black, White and Gray

If you look at this graph, it basically means the ratio of black to white:

2.1.12.1 example 1

K believes that when lighting, there is a saying (see the text and the 3 balls in the picture below) (those numerical ratios are just examples, don’t worry about them) :

1. On the left, it’s a little hard to tell whether it’s brighter or darker. In other words, the contrast between light and dark makes it difficult to see the focus.
2. As you can see in the picture on the right, although there is a lot of light on the floor, the focus is on the hat. Because the light under your feet is darker. This is a very finely controlled approach.

• You can add a little red to the hat by hiding the color as shown in the picture. It doesn’t make any sense, but it does.

If you want to focus, how much dark and how little light is better. so

2.1.12.2 example 2

Directly upload all changes as shown below:

What have you changed?

1. Dim the background.
2. Light up your chest.
3. Darken the belt on the right side of the chest.
4. Darken thighs.
5. Add a little light to the knees and underband to balance the eye.

2.1.12.3 Good examples

Take one big guy as an example:

This picture uses many rare colors, such as the eyes of the main character, and the jewel color on the neckline, which is very rare.

We could try to get rid of all these rare colors and still look good.

If we go back to the original picture, we can see that the hair has been used some very specific colors. This one is awesome.

However, even if we do not use these rare colors, we can use the aforementioned techniques to achieve good results.

1. The eyes of the horse, the eyes of the protagonist, are changed to more prominent colors.
2. If that doesn’t stand out enough, change the color of the main character’s glasses, too.

2.1.12.4 Basic Practices

As you can see, the basic idea is to darken the whole thing and then give it color depending on where you want it to stand out.

For example, we have this picture:Then set the saturation to about 15,20:Then you can saturate the area you want to stand out with 30 to make it stand out, like a sword.

If you find that the whole thing is still gray, one way to do it is to draw a border.In fact, the grayscale of the whole picture is lower, but with the edge, the overall grayscale is ok.

Then comes the focus, because the whole is warm color, so the focus should be cold color.

2.1.13 Coloring of line draft

A lot of times, after drawing a line sketch, you find that the line sketch is too complicated and many blocks need to be colored, such as the following:

The basic idea is:

1. Identify visual focus and what you want to highlight.
2. Then adjust the light and shade (no color first)

So you have a target for what you’re going to paint later.

The diagram above has a variety of ways to adjust focus.

In the second image, the eyes are red to remind you that the eyes are the first focus when coloring later.

2.1.13.1 Negative textbook

Some people paint light and shadow very heavily. This will mask the black and white relationship that was just configured.

In other words, light and shadow are really not about how realistic your painting is. Light and shadow are meant to bring focus. It doesn’t have to be real.

And light and shadow is too heavy still have a problem, can rob inherent color.

2.1.13.2 Large k color order

Apply color to the background color first (low saturation color). (assuming we all use warm colors) and then add some saturated (saturated warm colors). Then add the highest contrast (add cool colors).