Japanese Cell Shading (part 1 of 3): the Basics | Yazuki Wolf | Skillshare

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Japanese Cell Shading (part 1 of 3): the Basics

teacher avatar Yazuki Wolf

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

11 Lessons (45m)
    • 1. Introduction. What is Japanese Cell Shading

      5:20
    • 2. Setting up your base layer

      4:26
    • 3. Adding Matte Colors

      4:38
    • 4. Testing Different Colors

      2:54
    • 5. Setting Up your Color Layers

      4:57
    • 6. Layers of Shadow

      2:15
    • 7. Shading the Ribbon

      3:06
    • 8. Shading Hair

      4:21
    • 9. Adding a second Shadow Layer

      2:44
    • 10. Adding Highlights

      5:48
    • 11. Finishing Touches

      4:52
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About This Class

I break down the process I go through as professional artist working in Japan, and detail the specific do's and don'ts from a real industry perspective. 
Although I stress professional standards in this lesson, it is open for all skill levels and there are no prerequisites to the course.

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Yazuki Wolf

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Transcripts

1. Introduction. What is Japanese Cell Shading: it was ask you wolf. And today we're gonna be going over Japanese cel animation, a k a. On amenity. So I have this inked illustration here that I did So I went ahead and I roughed out a body and I go and I think the body as well. So we have a completely inked illustration. So now we have to go into the coloring. And when you do coloring in Japanese studio, you're generally gonna be given a specific sort of direction of what type of color and they want you to do. And there's basically three different major categories that you're gonna be asked to do. You're covering in. The first is what they call an immunity, which is sort of a production. Um, Tele Tele is trying to be kind of television quality animation, cel shading and what that means that since it's for television, you don't want to have too many colors, you know, like when you look at some of the Western style of drawing, we have very detailed shadings and like radiations and stuff like that, it's hard to do an animation like that because all those ah radiations have to be matched in each frame, which causes extra work. So generally when they dio um illustration. I'm sorry. Illustrated drawings for for enemy. They will have abouts maybe five layers per color. And those layers will be composed of ah, base color, which will then have a shadow layer. On top of that, they will have very crisp, crisp and easy to see edges. You see if I could give you an example of that. All right, so here we have a picture of Noto, and, uh, you can see that, nor it was a pretty well animated an enemy. But there really isn't a whole lot of layering of colors going on here. If you look at sort of like his his skin tones you have seen you could see my cursor, general, but you can see here you have a base skin color and then we have a shadow, right? And then there's one more darker shadow. So that's the two to different shadow colors and a base color. And then we have this highlight here. So that's four. So I think at the very least, you probably see 3 to 4 layers, and then sometimes they might have 1/5 layer to add like Boeing effects. Like I know, Maybe if he was, if he was powering up or something, that might be a glow that kind of surrounds him or something. So and generally gonna have about somewhere between 3 to 3 to five layers per color. Now, here with the sword art online, you can see a little bit of the fifth. The fifth letter I was talking about where I have kind of like a glow or some type of like , um, atmospheric type of coloring that goes over the other layers. And I think, um probably sort are online and more of the modern sort of Ah ah, enemy of our are probably a little proper, a little bit more into their coloring than the Norton Art was fairly Ah, very simplistic in its in its style, even in the manga, which I think is it could be a positive, in my opinion. But even even, like, like, sort online, you look here, you can see that generally the shadows are very distinct, like you exceed crisp edges to where the shadows and there doesn't seem to be too many. L know, radiations. I think There might be some gradation here in her hair, but for the most part they try to keep it to as few layers as possible. And that's because this is animation. You're gonna be drawing these characters over and over again. And he wanted to be able Teoh smoothly progress through your your pipeline, basically in the workflow. But that's what animations the next thing there's on animate, nudie plus garage or grotty eight. Great radiation, which is more common in gaming. Don't get me wrong gaming. You maybe just be told to do strict too strict animal anime nudie. But you also might be told to to add radiation things to it. Because if you look in like this, this is like a car designed for, um Ah, a Japanese game. Here you can see that it's still have the same type of feel as the sort of like Tel Avi television anime. But if you look at the edges here, they aren't crisp edges. You can see like a gray aviation of the shadows, kind of blending into the into the rest of the colors, but I think it was probably a more specific name for that. But for right now, I'm just gonna call it the plus karate. And usually, when you get these types of assignments at work, they'll tell you specifically. How about how much so how money, how much time they want to spend or how many layers they want you to put into individual piece. So that was the 1st 2 categories and the third category, something to call opportunity. And that just means like thick, thick coloring. I guess if you translate directly and that you'll see in card games like Shin getting a bomb. But, um, and more like more games are kind of popular now. I think it was it the names taping me now fantasy blue anyways, that more modern games Lately, this has become a popular style where is more similar to the Western coloring of things like League of Legends Or, you know, more just kind of a Western style, where all the colors or blend together and you're not really separating things into very crisp layers of of shadow and everything 2. Setting up your base layer: so for today, what we're gonna be going over is the basic animate duty, which is kind of what's using in television. And we're gonna be using five, basically. So here we have our our Senga, which is the line work. And I put this into one folder. I have the first single that I drew where the first lying work is just basically drawn over . And then I put another layer, which is just the outline to kind of like strengthened the, uh, the silhouette. And of course, I had my rough. They're here, but we don't really need that right now. It was so in between the singer on the rough. Usually what I do when I'm making these for work is I'll make a nudie layer, which nudie in Japanese means guess coloring. So that would be the layer that we put our actual color into, um, in parentheses, coloring. There a better way to say that? You know, I feel like I'm losing my English vocabulary more that I work over here, but every cell in the nudie layer we're gonna start off with our basic color and this story I've been just like a window to kind of contain all of the other colors that we have. So all right, so usually the way that I will just call this in is I select my Singa the language. I'm sorry, having trouble mixing my English in Japanese, and I will select everything outside of it. So right now, I just did a selection tool. I select everything outside of my saying. It looks like I'm getting some over full. I wonder if I could actually select every folk these together. No, I can't. Well, I want to Just check how I have this set up. It's been a while since I worked at home. Okay, I'm not sure if you'll be able to do this in photo shop or other programs, but this is just a cool thing that I have in a clip. Studio paint is that instead of selecting the individual line lying layer since, like, the whole folder, So I have the whole folder selected. So now it's taking the data from everything. Every layer that's in that folder. And now it just select everything outside of that. So just to go over one more time, I went to the selection tool X clicked on the line Work folder. If you have your line, work on one there that would work as well, and then just select everything outside of your line work. And now we have some areas that's missing, like in here. And behold shift and select those as well. So now I've selected everything outside of my my, uh, eight work. So now they go back to my nudie, my coloring later. And in the first there that we have here, I'm going to hit control shift I This should work in clips to deal paint as well as photo shop in most other things. Oh, wait. Hold on one second. Let me go back one time. I forgot Teoh guy just like this area in between her arm. So they hold shift and select that as well. Okay, cool. So now we're going back here. Control shift. I will reverse that. So now I'm selecting the reverse of what I had selected before, and I could go ahead and color that in with a good color. Well, it doesn't really matter right now is gonna go ahead and just call that in. So the main reason for just calling, calling that everything in right there is gonna be the sort of frame that's gonna hold everything else. So this is me separating the character from the background, basically. And now that I have that you hit control you and that's gonna give me my hue adjustment this again. It should be true in Photoshopped as well as clips. Do you? I think from now on, whenever it's true in both, I'm just gonna not gonna say anything. But if it's on Lee, something that's equipped studio all mentioned that. But for the most part, if anything else I say should be true for quips Studio as well as reporters shop, Um, and possibly like painter. That was, too. I'm not sure about the other ones, but anyways, so here I could go ahead and adjust my hue to kind of change it around. I think my is gonna be the the very back layer of the color. So I think that her skin tone would be would make the most sense. So Sears try make that a little lighter. Um, it doesn't really matter too much at this point. We're kind of is more just getting things together. Yeah. Thanks. Something like that should work. Um, okay. Okay. And of course, you don't necessarily have to hit control You. You could just manually select your colors here on the side. Here, you could select it. I'm sorry. Down here. It's like these cars however you want. But, um, I like to use control. You visit allows you to kind of just adjust things afterwards on the flag. 3. Adding Matte Colors: So now we're gonna make another layer, and we're going to make this layer dependent on their underneath it. So in the Crips, do you hit this? You cook this area here, I'm pretty sure and photoshopped it just be, like a right click or something. But I feel should be on option two. I forgot what it is called a mask this year. Uh oh. Clipping their ago. Donald, they're dead clipping. So now this is clipped to that. So I'm sure a lot of you probably already know this, But just for the sake of review, this means that anything I've drawn this layer will only happen on the layer that's clipped to so it won't show up anywhere else except for over that. And this serviced a way to control that. Now, this is the base color is our frame in which we're gonna hold all the other colors. So now here is a point of kind of of a crossing point. The robbery can make a decision because depending on if you have ah, computer that you want to save ramen. Like if you don't have a very high spec computer, you could do this all in one layer or, if you want to separate it, two different colors. You could do that as well, so I'll just give you both examples. So, for example, if you're trying to conserve, conserve out your your ah memory or you're trying to keep the file size low, you could just keep this one layer. Be the layered for all your colors. And I'm saying Call us like the calls like a map color and be sometimes you might. You might do this as well in your production line, where you'll just give us serve Matt coloring to give an idea of what it's gonna look like . So see her. Her hair here kind of like Mick. It's noses orange. Okay, Yeah, probably orange is the best. This meant kindly go or red at. No, if I want read. I was making blue there, and you go ahead and you just, uh, blocked these in with your needs Sushi tool with that in English paint paint bucket, I guess, is what you would call it, and I come Sometimes I run two issues here where it won't fill in everything, and I'm sure if I had if I want to take the time. I could actually adjust the settings toe, make it fit more directly in there. For now. I'm just gonna go ahead and and, uh, do that, uh, fix that manually. All right, So So your hair was blue. Um, that make the, uh, her blouse. I will make it kind of like a a light, pinkish color. Maybe I'm really not that fashion sensible. So and once, it doesn't really matter right now, because right now they're just kind of getting the colors end. There were just blocking things out and making separations, so it's not Actually you're not really committing to anything at this point as kind. Like a lighter white color for, like, the fluffy stuff you could sell that I'm really, really knowledgeable about clothing. Yeah, and yeah, I'm actually I probably would take more time of this regularly, but because I'm just gonna give you this example one way that you can do this and was gonna do this quickly for right now. Well, listen, are cool thing about clip studio that, um you might not be able to have that you probably have with Photoshopped. Other things is that it's like um, seer was a good example. Like, uh, this area here we have a lot of a lot like, um, small areas to fill in. Usually with, like, a full stop, you have to click each one over and over again. But with fifth studio, you can actually just click one and then dragged through the rest, and it fills in all of them. That's like that. It really saves a lot of time over over the long run. But OK, so make the bow serve like a reddish color, and it's just the base color Souls, um, for your base color. Syria, You don't want to be. You're basically you probably. So I'm not sure how well you can see this. Ah, color picker here. But you kind of want stay out of this like top area for your base color because you don't want to be as like as saturated as possible, because that's going to make your whole illustration seem really saturated. So you probably want somewhere around this area not fully saturated and not completely dark , but not completely light, either. It's kind of this middle of the road type of color. Yeah, he's going Yes, like that. I feel that in there. And he asked me This whole thing right? Seems good. And I will make the buttons white to as well this once again if you're trying to conserve space because now I have everything. Just one layer here. I I za color to as well, you know, maybe like a green. Yeah. 4. Testing Different Colors: Okay, So now so the advantage of this that since you have it on one layer, you go ahead. And you couldn't then make another layer on top of that. You know that later. Let's say that her her hair is gonna be more of a red color and actionable. I'm sorry. Let me go back instead of making another layer is that could just copy this layer. And now, if you use the ah, the color selector and select and look in this thing, you're gonna make it so that it only selects this layer. So it's not. It's not interfered with with the other the other layers. So you can get all the colors at once and say we want to take this and do control you. And what what other cars might look good like instead of instead of blue, maybe make kind of Ah, a blonde or oranges? Yes. Preschool for the orange pattern. This time. There you go. And they go down to, um and this is everything could do activities. You see, it didn't select all of the pink. You can make your selection ignore. Um, borders sincere. Where is that setting? Here in a quick video. It's to ignore the pictures that are connected to it. You have the same option in Photoshopped as well. I'm not sure exactly where it would be. What? You could probably look that off. So now we have the whole area selected. And what's going to control? You change the color here. Okay. We'll have blue looks Very nice. Yeah, that looks good. Right? And then you go here controlling you change this color? Yeah. It's kind of a purplish navy. Might be good. I have felt your eyes. I think green green is good. Good as it is, because green and or an orange can go together. Well, fairly well, but making work, having more flu shoe. All right, so now since we have two layers, you could actually, if you were to show this to like a someone in your pipeline to get approval to move on in the project, you can actually say what what color set do you like? The best. And you could actually save this and say this that separate documents and show them or even look at your desk just kind of click this this layer on and off. OK, Which way do you want? And they'll say, Oh, I like this one. Or like that one. This case I like the blue, but I like the I like the blue blouse Better so I'm gonna do is I'm gonna take the top layer and I'm going to deletes, uh, actually know this Let's take the selection tool again You move over your secrecy layers I'm on I'm talking so fast we try to go over so much information But I'll try to slow down So I like this blue So I'm gonna take that blue And I'm going to delete everything except for the blue And so now I have the pink still underneath I'm gonna go ahead combined those There we go. So now I have the kind of color said that I like 5. Setting Up your Color Layers: So now the next thing is that we need to add the the base layer, but thes two combined basically your base color. But we also need to shadows and, um Ah, highlight. Right. So go ahead and add 12 three more. There's and you won't always need it. But at one more they like to show you the glow or the Shia Gaylor is what's called in Japanese. What we sometimes call in Japanese, I guess. What do you call that? The the rush up there? I guess, baby. So here we go. The I just made them all underneath here because it's easier. So you don't have to hit clipping of retiring, but it doesn't really matter. Got then take the base there. Put that back at the bottom of this court has labeled this as base. And I should be a better term for this because you have to base colors out right now. Yeah, actually, probably. Work actually makes sense. So I'm sorry. I'm mixing two different way to do. It is I'm actually probably anything we asked for this in two different parts. So this is going to be the low spec computer version and the other version. So the other version used but every colors into a different folder so that you make a lot more layers. But it's also a little bit easier in the long run. But for now, we're doing the low spec version. And since this is low spec, I'm gonna put all these colors on one there. So I'm gonna combine all of these matte colors to the base layer. So this is all just the base layer. Now I just have control E and combined that usually I would not do that in in the regular way there that I would use, which I go into in the next video. But for this, for the conservative memory have method the base. It's another base color had the base layer has all the colors in it as it is opposed just being one based bottom color. All right, so now we have this base color here, and above that, we're gonna have Kagay one for Shadow one, and then above that, we're gonna have Calais to or shadow too. Above that, we're gonna have highlights. And above that will have Xiahe, gay or Russia and all these terms make may very from, ah, studio to studio. But Johnny, the terms that I hear early often so right so Kagame One sofa could get one. There's a There's a couple. There's a lot different ways you could do this. I guess it's kind of your start, depending your style, for not focus on the eyes. Just t have a small space to talk about. Um, first method you could do is you just select color that you have in the eyes and then see if you can see here my color wheel. I kind of moved down and to the right, maybe halfway. And that makes a darker version of that with a little bit with the proper saturation for my for my testing. I don't want too much into that is that it goes in that color theory and things like that. But I just found that that that usually gets me more. That's the right color. And so, for example, if I want to do call Gate two, I would then take this color and I would go down into the right like another half way, and now I have a little bit darker color that I could then use for the 2nd 2nd Kagay color . Right? Um, you see how I wanted this, So Oh, the other thing, I need to go over real quick. Is you in this? So right now you can see that when I draw it draws over everything and we don't want that. We want this car. This this kagay this shadow to be confined to the green area. So in the regular production style, you would have a separate. You have a completely separate layer or folder for just green. And that means that So you see, now that I have, I have how many layers? Here I have the base +123 side of five layers. Here. This is the low spec computer version where you just have five players for everything. But if you have a higher spec computer, a slightly easier way to do it is to do these five layers for every color. So it be however many colors Illustration has times five and I'll go. I'll go into that next next video 6. Layers of Shadow: for now. Okay, so we have, um, way want to confine this to green. But since every base colors are all in one layer, how do you do that? Well, use your selection tool and you go back to your base there and you just click on green. And before we took it off so that I can tell what is called in English. But it it selects colors in different of whether or not they're connected to each other is not as long as it's green. It's like all the green. I forgot what that's called, but it should be just the check, like in the top of photo shop or in clips. Do you see it on the left hand side? Here. It says, uh uh, picks a little daughter. Um, this this check right here. All right. So, anyways, now that we have that, we have the green selective so that I could come back to your shadow and hit control H informal shop, which which will hide it. I don't think I actually have that in a crypt studio. So that's one thing that four shop has over over a cliff studio. So if you have photos up, Control atrial. We'll get rid of these, these aunt lines here but here. So I'm gonna go ahead and hard this in and I'm using fairly hard brush because, as we've kind of established, the animated nudie style doesn't really want a lot of radiation of color. It wants it to be pretty defined of where the where the shadows begin an end. See how she she did the doctors. I don't know if actually need a shadow, too in the eyes here. But go ahead. And and there's a lot of different ways you could do this. I don't want to make this a drawing eyes video, but sometimes you see, like where the the bottom will be kind of open, like that ever has, Like, a reflection on the bottom. Something now that might be okay. Okay, So I went ahead and did the shadow one and shuttled to for her blouse and skin tone a little bit. And now we're gonna go ahead and go into the hair and the ribbon, and I'll do that. Live with you. So you kind of see the process 7. Shading the Ribbon: So now the first step is that we have to go back to the base and use our selection tool to select the start with the bow. I suppose so. Now we have the votes elected. And once again, if you have Photoshopped control, H will hide these dancing dots. But if not, you just have to put up with the kind of loudness of those dots in your face while you're drawing. But but, you know, that's how this method works. So now we're gonna go ahead and go a shadow one. Select the color that was there and bring it down and to the right, a little bit on the color wheel so that it has. It's a little bit darker and a little bit more saturated, and this is shuttle one. So we start with very large spaces for shadow one. Um, you don't don't be too detailed or just something I kind of summer for suffer from a lot of times I end up being to detail at the beginning when really you want, just get like, large areas of where it's gonna be where shells are gonna fall. So see you something like something like that love is shading here and now, regularly. If I was doing this song for professional work there, like for for her job for my job, I'd go into this afterwards and really clean up all these. All these Ah, these lines because they don't They don't want tohave messy edges. They want to be very, very crisp and defined. So, like, right now, you see it generally have the shadows there. But if I, Berg to do this profession, have to go in back afterwards and have clean up these edges of the shadows have very crisp clean edges with, like, crisp lines here, you know, um, funny, because Apple xy right here. Yup. This kind of jutting out over here and here. You see how this is kind of like a squiggly line here. They don't like that. They want to be very smooth, like Ally Nichols, like it's very clean lines like this. And I'm probably not going to that with everything for today, because for the sense for the sake of time, I don't want toe more. You with me going through every little edge like this. But just so you know, if you're working professionally you want to go and have a second check to just make sure that you don't have kind of missed messy stuff like this. You know, you want to have very clean, defined areas. So now that was the shadow one. And actually, you know, I want a little bit more shadow on the bottom of this. So let's have some shell down here. Maybe that's about right. And then so for a shadow, too, it's where you have more like to find crisp of At Chris Bum. We call lot almost lying work type shadows. So go shadow to take this color slicked again and increase the saturation and darkness just a little bit more emigrant going to make more detail like areas of shadow here. 8. Shading Hair: That's probably all really need for the ribbon. So I'll go ahead and move to the hair so I could control the to DE select my selection. Give my selection to again from the base layer. Select the hair xx all that for me since we have it. Have the check unmarked for selecting for the color have to having to be connected. And it looks like another thing to do. You mind if you're doing it professionally? See here how we have, like little areas that aren't aren't selected. That's a good clue that you should probably go back in and clean things up a bit more. So go back and you just can't get rid of those. There are methods kind. Make sure that doesn't happen to begin with. But I'll go. That's a little more to live it to detail for this video. So I'll go into that and different video. Okay. There seemed to be a black line here. I don't know where that came from, so that was a mistake. Summer okay, was accidentally drew a line there when I was doing when I was doing the shadows. OK, so back here. So we select the blue, um, increased saturation and shadow a bit. Yeah, go ahead and go through here. And what? We're gonna start with the big areas. Sorry. I forgot to select it, you know, selected. All right, So start the big shadows. Okay? That's not too shabby looking more coming out here. Maybe. Yes. And I'm gonna go in and just take this off. Lower my brush size. It's always good to start big and work into detail. If you start with detail, you end up wasting up a lot of time. I'm not saying that it would be. It's that you're are probably bad. But just that there's time that you could have been using on other things and it would have been, um it would've been faster if you start big a long time. And what I'm just going from the paint and the eraser tool back and forth. Another thing to keep in mind is reflective. There's no shadows, reflective light. So even if the right I'm keeping my that, I'm thinking that the lights coming from this side. But there's even those coming from there. You'll still get reflective light. So on the opposite side, you might get a small a tent of ah, of light reflecting back up on it. So I don't know how much you won't go into that for for standard animate duty you don't want is your family. They don't want to get to deck detailed in those. But just something keep in mind for the future that the shadow isn't always gonna be crisp to the edge. There's gonna be some reflective light there. So it's nothing to keep in mind to the eye groves priced and keep them shadowed. I think it was kind of weird off. I put too much. I liked into, though prizes. You know, those eyebrows, Ra just thinking of reflective light again. And this strand is kind of out from the coming out from the face. It might hit a little bit more light there for you. This again, is hitting some late. All right, that's probably after that. For the purposes of this video, I probably take more time double checking and rechecking. If I was doing it professionally for professional work, 9. Adding a second Shadow Layer: all right, So now for shuttle to once again, it's just adding more detailed areas of shadowing where, like hairs, air crossing over each other here. So I've got to select that. That's the one problem with this method is that you have to always remember to select the area first before you start. Drawing wire is if you have every every single color on a different there, you won't have to worry about that as much. But once again, this is if you have. If you want to save memory and keep your document light, this would be a method that is possible to use for me. Personally, I might use this. It's a very small, like drawing that I'm doing, like not it's not particular complicated and something that I want to kind of get to why handed quickly, because the other advantage about this method is that since it all is on one layer, you can do things like copy and paste and use, multiply and then not just color. Uh, not just shade color by color, Like right now I'm shaking the blue right now. You could actually shade all the colors at once. You just shade as if it was a black and white drawing, and then apply those. That multiplication layer to the colors and you're done is that they'd be really quick. The disadvantage there is that, of course, it's not gonna be as detailed, and color is not gonna be asked control of a color scheme. So it's not gonna be at the qualities God, God be a little bit lacking. It's gonna drop a little bit, I guess you could say, But if it's something you just have to hand in really quickly for like a quick, quick assignment and it's not a part particularly important illustration, maybe just like a concept or like a a rough, a rough kind of example image they call a lot. It's when you have like, they just want to see what something would look like. And it's not that they don't want commit to make resources to it right off the bat. You know, those are kind of tricks that you would use to get that in quickly. I've been finding more, more as I've been working professionally that before, I used to just think about how to draw good and I mean that definitely is a is a good thing to try to draw as as as well as possible. But once you against a professional area, there's more factors than just drawing good. It's more other facts about how much resource is they want to commit to this particular drawing. How, how quickly up to finish it, to be effective in the workflow. There's a lot of other things to consider as well. So depending on each each assignments, you may have different needs that you want keeping keep in mind. All right. Thank E. I don't want to go into too much detail with that for this for this stage. So I think that's probably good enough. I'm just gonna put a little bit of the shuttle to underneath the eyebrows did get a little more depth. Maybe 10. Adding Highlights: all right, So now for shuttle to once again, it's just adding more detailed areas of shadowing where, like hairs, air crossing over each other here. So I've got to select that. That's the one problem with this method is that you have to always remember to select the area first before you start. Drawing wire is if you have every every single color on a different there, you won't have to worry about that as much. But once again, this is if you have. If you want to save memory and keep your document light, this would be a method that is possible to use for me. Personally, I might use this. It's a very small, like drawing that I'm doing, like not it's not particular complicated and something that I want to kind of get to why handed quickly, because the other advantage about this method is that since it all is on one layer, you can do things like copy and paste and use, multiply and then not just color. Uh, not just shade color by color, Like right now I'm shaking the blue right now. You could actually shade all the colors at once. You just shade as if it was a black and white drawing, and then apply those. That multiplication layer to the colors and you're done is that they'd be really quick. The disadvantage there is that, of course, it's not gonna be as detailed, and color is not gonna be asked control of a color scheme. So it's not gonna be at the qualities God, God be a little bit lacking. It's gonna drop a little bit, I guess you could say, But if it's something you just have to hand in really quickly for like a quick, quick assignment and it's not a part particularly important illustration, maybe just like a concept or like a a rough, a rough kind of example image they call a lot. It's when you have like, they just want to see what something would look like. And it's not that they don't want commit to make resources to it right off the bat. You know, those are kind of tricks that you would use to get that in quickly. I've been finding more, more as I've been working professionally that before, I used to just think about how to draw good and I mean that definitely is a is a good thing to try to draw as as as well as possible. But once you against a professional area, there's more factors than just drawing good. It's more other facts about how much resource is they want to commit to this particular drawing. How, how quickly up to finish it, to be effective in the workflow. There's a lot of other things to consider as well. So depending on each each assignments, you may have different needs that you want keeping keep in mind. All right, Thank E. I don't want to go into too much detail with that for this for this stage. So I think that's probably good enough. I'm just gonna put a little bit of the shuttle to underneath the eyebrows did get a little more depth. Maybe, and now it's the next part. He has the highlights. So, for highlights, we're going to take the base colored blue and now receive going down into the right. We're gonna go up into the left to take away saturation and add a lightness like this and for the highlights in hair. I see a lot of different methods to this, like one thing you see, sometimes they just draw, like a straight straight line across it, more or less going along with the kind of curvature what the head might might be curving. This isn't quite right. That's not quite light enough. There we go. Maybe about that. And this could be a thick, particularly effective if you have radiation as well. I don't know if I like it quite as much without the great Asian, but just give this to look right, draw a little bit on the sides here. Okay? All right. And then I'm gonna make it so that tapers off a little bit more. And this is also pretty good if it's of pretty flats hairstyle, like the one that this character has is a lot of ways in it. So it might look a little off with this character, but I'll just just example a little too much. Yeah, something like that. Pressure moving up a little bit more. If I wanted to use that. Nothing they could do is you could cut up so could take the parcel. Racy of the hair, overdraft overlapping. Okay. And use that as an area where you can kind of cut into the the general flow of that tie light. Okay, a little bit better for this character. Probably think. Yeah, I think that's fairly okay. Yeah. Another method you see sometimes, really? Actually, just kind of, like, put it into, like, blocks or something, or you actually go into detail in the Catholic do Like it's like a kind of zigzagging type of thing. Might be something like that. But I don't know if I really want to make this a video about the about hair in particular. So I'm just saying, go ahead and go with the other one. Since this one is a little bit would take a little bit longer to complete. There you go. So for now, just use that. 11. Finishing Touches: No, I won't go in and add highlight together areas. So once again, selection, tool your eyes like a little highlight highlighted area on the bottom. There may be it might be kinda cool to have, like, a rim of light around the, uh I know what we call Iris to that. Okay, I don't like the side. And although some to get rid of that part just like a little dash seems like that's pretty good. Your and I think I'm gonna do the rest of it off camera. Um, so for right now, this is pretend like we have a Xiahe gay, right? So for the Shiia gay lair, this slayer, I don't think it it really needs to be attached. Well, let's just do a Tash. And if we need to, we got to attach a later. So for this that I might do something like, take this, uh, highlight color. And now this. There it's okay to have radiations. So might use a brush instead of a brush. Really soft brush. Something like this, right, That I could kind of mix around a little bit more and say there's light coming home. Life supposed to come from the right curves. So this side this when I'm also not limited in just a boot Teoh blue. I'm letting it just kind, affect anything it runs into. It was kind of making ah, soft area, like hitting here, um, confused radiations and anything else to maybe put like, a little bit on the side over her shoulder. And now this layer, we're gonna take this, they're gonna make it. Either screen is pretty good or overlay. Think this case overlay looks pretty nice. So you see how that kind of gives it a bit of like a Grady ation without too much work. And it was just showing that there's like, maybe kind of reflecting deserves a good thing. I add that to your highlight to like See, I just draw that over my highlight here. You see how it makes the highlight? Kind of like the word is like shimmer, I guess. And we'll make that soft on going back in with studio. I often used the watercolor brush for this because it is easier Teoh to blend with photo shop. I'm not sure. Maybe great. Maybe just use them use like a Grady ation tool or something all right? Or Or use a blender after you draw on it. All right, so that's pretty much how it goes. So just a review. Real quick, Going back to the beginning. We just put the colors all in one layer, and then on top of that, we have our shadow one and then our shadow, too. And then we have the highlight and the Shia Gay or Russia. And I'm gonna go ahead and off camera, finish up the rest of it so I could show you what more what we look like. Finished. All right, there we go. Now, I'm If I were doing this for a finished work, I probably would go through again and just check to make sure everything is nice and detailed, but purposes video, this will work. So once again, you have the regular the base layer shadow one shuttled to highlight. And she, uh, gate, sand this and everything. That soldier, the rules. I just told you you could kind of like fudge some of those rules when it comes to the face , because that the face, sometimes you'll see some great Grady ations to have added in the form of like blush to just kind of bring somewhere like to the face, like around the cheeks, lips and nose And so are sometimes you might also see, like these, like, just kind of like these lines underneath, underneath the the I eyes around the cheeks and stuff like blush lines But you got ta give specifics for that, depending on whatever of the assignment is and, uh, where you're working. But for now, that is Ah, the basic really dirt basic Japanese cel animation. And this was today was it was for a low spec computer. Next time, we're going to show you how to do the same thing, but for, like, a higher production quality with many layers. So it's the next time.