AI Drawing Tutorial

WHY ARE THE WORDS WRITTEN IN DETAIL, BUT THE RESULTS ARE UNSTABLE? THE PERSON IN THE LAST SECOND WAS IN THE OFFICE AREA, AND THE NEXT SECOND WAS LIKE A CHANGE OF SCENE; THE MESSAGE WAS “SCENES FOLLOW”, BUT THE PICTURE WAS TURNED INTO A FEW INCOHERENT IMAGES; THE RESULT WAS THAT THE CHARACTER HAD TO MOVE FROM THE DOOR TO THE TABLE, AND THE PERSON WAS NOT IN THE RIGHT POSITION, DIRECTION OR MOVEMENT. THE REASON IS NOT NECESSARILY THAT THE MODEL IS NOT GOOD, BUT THAT THE INPUT INFORMATION IS NOT “ENFORCEABLE”. AI UNDERSTANDS THE LANGUAGE, BUT WHEN THE TASK INVOLVES COMPLEX SPACE, MULTI-PERSON HIERARCHIES, CHASES, FIGHTS AND THE END OF A SINGLE LENS, IT CAN EASILY BE AMBIGUOUS. YOU SAID, "THE HOSTESS MOVES RIGHT THROUGH THE TABLE." AI NEEDS TO JUDGE..

PEOPLE CHANGE THEIR FACES, AND THEY THINK THEY'RE NOT VERY PRECISE. WHEN THE SCENE WAS IN DISARRAY, THE WORD “CONSISTENT” WAS ADDED TO THE INTRODUCTION. IF THE FIGHT ISN'T GOOD, THEN THE WORD “HEAT” “FILM SENSE” “SHOCK” BECOMES MORE FULL. THE COLOURS ARE NOT UNIFORM, AND AFTER THAT, ADD THE WORD "ADVANCED COLOURS". BUT THOSE WHO HAVE ACTUALLY DONE THE WHOLE PROJECT KNOW THAT THE HINT CAN ONLY SOLVE PART OF THE PROBLEM. IF THERE WERE NO ASSETS IN THE PRECEDING PERIOD, EACH IMAGE AND EVERY SHOT OF AI SEEMED TO BE RECHARGING. HE DOESN'T KNOW WHAT THIS CHARACTER LOOKS LIKE. HE DOESN'T KNOW IF THE SIDE IS THE SAME

WHEN A LOT OF PEOPLE DO THE A.I., THE FIRST REACTION IS TO GO WITH WORDS. IT'S LIKE A MOVIE, A SENSE OF EXCELLENCE, A SENSE OF TRUTH, A FEELING OF ATMOSPHERE, A FEELING OF GREATNESS. BUT YOU'LL FIND THAT THOSE WORDS ARE ALSO WRITTEN, AND SOME OF THEM ARE CREATED LIKE A MOVIE SCREENSHOT, SOME OF THEM ARE CREATED AS AN AL. IT DOESN'T HAVE TO BE A MODEL, IT DOESN'T HAVE TO BE A DRAWING, BUT YOU DIDN'T TELL AI WHERE IT SHOULD BE. THE LENS ANGLE DETERMINES THE RELATIONSHIP BETWEEN THE AUDIENCE AND THE PERSON. IT'LL PUT THE AUDIENCE AND THE PERSON AT THE SAME HEIGHT, IT'LL BE MORE REAL, IT'LL BE CLOSER; IT'LL MAKE THE PERSON LOOK AS IF HE OR SHE IS BEING OBSERVED, CRUSHED, FIT TO EXPRESS AND..

WHEN A LOT OF PEOPLE ARE DOING THE ROLE OF AI, THE FIRST REACTION IS TO FIND A GOOD REFERENCE, AND THEN MAKE IT HAPPEN. THIS APPROACH APPEARS TO BE FAST, BUT THE PROBLEM IS ALSO CLEAR: THE ROLE IS SO EASY TO BE LIKE OTHERS, WITHOUT ITS OWN VISIBILITY, AND IT IS DIFFICULT TO STABILIZE WHEN IT COMES TO CONSISTENCY. MORE IMPORTANTLY, THE RISK OF COPYRIGHT AND PORTRAITS MAY ALSO ARISE IF REFERENCE MAPS ARE DRAWN FROM REAL PEOPLE, VIDEO CHARACTERS OR WEB-RED PHOTOGRAPHS. THE REALLY APPROPRIATE METHOD FOR LONG-TERM USE IS NOT "REPLICATE A FACE" BUT "DESIGN A FACE". THE CORE OF AI'S FACE IS NOT TO MAKE THE FIVE OFFICIALS MORE BEAUTIFUL, BUT TO MAKE THE CHARACTER'S FACE STRUCTURAL, STENCH, MEMORY, AND..

A LOT OF PEOPLE DO AI VIDEOS WITH THEIR FULL FOCUS ON CHARACTERS, COSTUMES, SCENES AND STYLES. IT'S A LONG TEXT AND A FINE PART, BUT IT'S STILL LIKE "GENERATING A PICTURE" WHEN IT COMES OUT, AND IT'S LACKING THE QUALITY OF THE REAL IMAGE. OFTEN THE PROBLEM IS NOT THAT THE PERSON IS NOT GOOD ENOUGH OR COMPLEX, BUT THAT THE LIGHT IS NOT DESIGNED. IN THE REAL PICTURE, THE LIGHT IS NOT JUST LIGHTING PEOPLE, IT DETERMINES THE RELATIONSHIP BETWEEN THE SUBJECT AND THE BACKGROUND, WHETHER THE PERSON IS EMOTIONAL, WHETHER THE PICTURE IS HIERARCHICAL OR WHETHER THE AUDIENCE BELIEVES IT EXISTS. SO THIS SECTION, WE DON'T SPEAK COMPLICATED STYLES, NOR..

THE HARDEST PART IS TO PRODUCE AN AI FIGHT VIDEO, NOT TO COPY IT INTO A VIDEO TOOL, BUT TO GET A REALLY USEFUL ONE. IF ONLY AI SAID “WRITING AN IRRITATING PUNCHWORD”, IT DID NOT KNOW WHAT THE TWO ROLES LOOKED LIKE, WHAT WEAPONS WERE USED, WHERE TO FIGHT, OR WHAT ACTION, EFFECTS AND LENS SHOULD REFER TO. THE FINAL CONTENT MAY BE POPULAR BUT CANNOT MATCH THE ROLES AND MATERIALS IN HAND. A MORE STABLE APPROACH WOULD BE TO GIVE ALL CHARACTERS, SCENES, ACTION MOVES, MIRRORS AND SPECIAL EFFECTS REFERENCES TO AI IN SUPPORT OF THE MAP, AND TO USE A CLEARLY NUMBERED DIRECTIVE TO MAKE IT..

THE PICTURE IS ALREADY IN THE HEAD: ONE PERSON SITS IN A CHAIR AND THE OTHER IS STANDING NEXT TO HIM; OR A MAN IN A COSTUME HOLDS A LONG GUN AND THE GUN IS POINTED RIGHT AT THE CAMERA. YOU CAN REALLY OPEN AN AI TOOL WITHOUT KNOWING HOW TO WRITE THIS IMAGE AS A HINT. WHERE ARE THE PEOPLE STANDING? WHERE ARE YOU HEADED? HOW HIGH ARE YOUR HANDS? HOW CLOSE IS THE GUN TO THE CAMERA? IF THEY ALL RELY ON A DESCRIPTION OF THE TEXT, THE LONGER THEY ARE WRITTEN, THE EASIER IT IS FOR AI TO UNDERSTAND. IN FACT, WHEN FACED WITH SUCH PROBLEMS, WE DO NOT HAVE TO CONTINUE TO STUDY “HOW TO WRITE THIS”. AND THERE'S A BETTER WAY FOR WHITE:

For the first time, many people saw Codex and understood it as "software to help programmers write code." For ordinary creators, however, it is more worthwhile to learn how to deal with tasks: read information, understand objectives, call tools, implement steps, check results and then revise them on the basis of feedback. After this section, you should be able to organize a vague idea into a missionable list and do a different set of short plays, video clippings, small games, etc. in the same way. I understand the way Codex works, why the same sentence, "Do me a short play," might only give you a little..

A LOT OF AI VIDEOS LOOK AT EACH IMAGE ON THEIR OWN, AND IT'S LIKE A FAST-TO-TURN SET OF IMAGES: PEOPLE TALK, EMOTIONS ARE STRESSED, CAMERAS ARE NOT STOPPED, AND VIEWERS DON'T HAVE TIME TO ENTER THE STORY. THE MORE MATURE WAY TO DEAL WITH IT IS TO PREVENT THE IMAGE FROM REMAINING ON HER FACE WHILE THE RED WOMAN IS WAITING. INSTEAD, IT CUTS TO THE ROOF OF THE RAINY NIGHT, SHAKES THE LANTERN, TABLE GLASSES, EMBROIDERED SHOES WITH PETALS AND FALLING RED SILK. THESE IMAGES, WHICH DON'T SEEM TO HAVE A LEAD, ARE BLANK MIRRORS OR INSERTIONS. EMPTY MIRRORS ARE NOT USED TO FILL LONG DECORATIONS, BUT TO SPEAK FOR PEOPLE. IT CAN GIVE US TIME AND PLACE

MANY PEOPLE SPEND A LOT OF TIME ON CHARACTER APPEARANCES, COSTUMES, SCENERY, AND VISUAL CLARITY IN THE PRODUCTION OF THE SHORT PLAY. LOOKING AT EACH PICTURE ALONE, THE PERSON IS FINE, THE IMAGE IS COMPLETE, AND THE LIGHT IS GOOD; BUT ONCE THE PICTURE IS GENERATED, THE CHARACTER IS PUSHED AROUND, THE FACE, THE CLOTHES AND THE BODY DON'T FIT, THE OPPOSITE IS MORE LIKE TWO PEOPLE STANDING ON THE LINE. THE PROBLEM IS NOT THAT THE MODEL IS NOT STRONG ENOUGH, BUT RATHER THAT THE HINT ONLY TELLS AI “WHAT TO DO” AND DOES NOT EXPLAIN HOW THE ACTION OCCURS. THE LIFE OF THE AI SHORT PLAY COMES FROM CONTINUOUS, SPECIFIC AND INTERRELATED CHANGES. IT'S NOT JUST ABOUT MOVING ON, BUT IT'S ALSO ABOUT PUTTING THE WEIGHT ON THE FRONT

A LOT OF PEOPLE DO THE SAME THING WHEN THEY DO THE AI VIDEO: IT'S TOO SHORT A SINGLE TIME, AND IT'S OVER AS SOON AS IT'S IN THE STATE. SO THE MOST COMMON WAY TO DO THIS IS TO CUT OUT THE LAST FRAME OF THE LAST VIDEO AND CONTINUE TO PRODUCE IT AS THE FIRST FRAME OF THE NEXT VIDEO. THIS APPROACH SEEMS REASONABLE, BUT WHEN IT IS REALLY CUT TOGETHER, THERE IS OFTEN A PROBLEM WITH CARTONS, PAUSES AND SPLITS. THE REASON IS SIMPLE: A PICTURE CAN ONLY RECORD A MOMENT OF SILENCE, BUT NOT A PERSON'S STATE OF MOVEMENT. AT THE END OF THE LAST VIDEO, THE CHARACTERS MAY BE TURNING THEIR HEADS, WALKING, RAISING THEIR HANDS, BUT THE NEXT VIDEO IS FROM A STATIC MAP..

A LOT OF PEOPLE DO AI VIDEOS, AND THEY FOCUS ON HINTS. WHEN THE PICTURE IS UNSTABLE, THE DESCRIPTION CONTINUES; WHEN THE PERSON CHANGES HIS FACE, THE HINT CONTINUES; WHEN THE LENS IS WRONG, THE CARD IS DRAWN REPEATEDLY. THE LONGER THE LAST HINT, THE MORE EFFECTIVE IT IS. IN FACT, THE KEY TO MAKING THE AAI VIDEO MORE STABLE IS NOT JUST A HINT, BUT HOW IT IS MADE. THE TOOL TO BE USED HERE IS THE AI STORYBOARD. WHAT NEEDS TO BE NOTED IS THAT THE STORYBOARD HERE IS NOT MADE MANUALLY, BUT IS DIRECTLY GENERATED BY AI. THE CORRECT PROCESS IS SIMPLE: FIRST TO IDENTIFY THE PERSON, LET AI CREATE THE STORY FROM THE PERSON; THEN LET A..

A lot of people have seen a beautiful image of AI, and the first reaction is to ask, "How does this hint go?" But when you really do it for a long time, you'll find that it's not a magic hint, it's a creation that can be repeated. When this is done, you can do your own AI Skyll. It's very simple: you don't have to rethink the hints every time, and you don't have to repeat the style, character, camera and image requirements. Just hand over your creative habits, your work cases and your usual tipwords to AI, and it will help you sort out an exclusive process. You want to..

A LOT OF PEOPLE, IN THEIR ROLE AS AI, FOCUS ON FIVE OFFICIALS: BIG EYES, TALL NOSES AND FINE FACES. BUT WHEN IT WAS MADE, IT WAS FELT THAT THE CHARACTER WAS NOT REAL ENOUGH TO HAVE MEMORY. THE REASON IS SIMPLE: WHETHER A ROLE IS HIGH OR NOT, IN MANY CASES IT DEPENDS NOT ONLY ON FIVE OFFICIALS BUT ON MAKEUP. COSMETICS CONSIST OF CLOTHING, HAIRSTYLES, HAIRDRESSING, MAKEUP, ACCESSORIES, COLOURS AND CHARACTER STATUS. IT CAN TELL THE AUDIENCE WHO THIS PERSON IS, WHERE HE COMES FROM, WHERE HE IS AND WHAT HE'S BEEN THROUGH. TODAY'S TIC-TIC-TIC-TIC-TIC-TIC-TIC-TIC-TIC-TIX-TIC-TIX-TIC-TIX-TIX-TIC-TIP-TIP-TIP-TIP-TIP-TIP-TIP-TIP-TIP-TIP-TIP-TIP-TIP-TIP-TIP-TACK-TOP-TOP-TOP-TOP-TOP-TIP-TIP-TIP-TIP-TIP-TIP-TIP-TIP-TIP-TIP-TOP

A LOT OF PEOPLE DO AI VIDEOS, AND THERE'S A VERY OBVIOUS PROBLEM: THE PICTURE LOOKS GOOD AND THE CHARACTER DOESN'T HAVE TOO MANY PROBLEMS, BUT IT'S NOT NATURAL TO MOVE. FOR EXAMPLE, IF YOU WANT THE ROLE TO MOVE FORWARD, IT SAYS ONLY "ONE GIRL GOES FORWARD" IN THE HINT, AND AI DOES PRODUCE WALKING IMAGES, BUT IT TENDS TO BE RIGID. SOMETIMES PEOPLE LOOK LIKE THEY'RE SLIDING, SOMETIMES THEIR LEGS DON'T WORK IN HARMONY, SOMETIMES THE UPPER HALF DOESN'T FOLLOW AT ALL, AND THE WHOLE VIDEO IS LESS REAL. IT'S BECAUSE AI DOESN'T KNOW HOW THIS GUY WENT. DID SHE WALK SOFTLY, OR DID SHE WALK SOFTLY? WHEN SHE WALKS..

A LOT OF PEOPLE WHO DO AID VIDEOS FOCUS ON THEIR FACES: FIVE OFFICIALS ARE REAL, THEIR SKIN IS DELICATE, THEIR EYES ARE NATURAL, AND THEIR SHADOWS ARE CINEMATIC. BUT WHEN THE VIDEO CAME OUT, IT WAS EASY TO SEE IT WAS AI. THE REASON IS SIMPLE: VIDEO IS NOT STATIC. IT'S ENOUGH TO LOOK GOOD FOR A MOMENT, BUT THE VIDEO NEEDS THE CHARACTER TO STAY REAL FOR A FEW SECONDS. AS LONG AS PEOPLE STAND TOO STEADY, THEIR FACES REMAIN UNCHANGED AND THEIR MOVEMENTS ARE NOT JUSTIFIED, THE PICTURE WILL APPEAR RIGID. REAL PEOPLE DON'T ALWAYS PARK THERE LIKE STATUES. PEOPLE LOOK AT THE PHONE WHILE WAITING FOR THE CAR, THEY TURN THE CUPS AT THE COFFEE SHOP, THEY LOOK AT THE FLOOR IN THE ELEVATOR, THEY WALK..

IN THE WAVE OF AI'S CREATIONS, WE ARE OFTEN CAUGHT IN THE WRONG SPOT: WE SEE A SENSATIONAL EXPLOSION VIDEO, AND THE FIRST REACTION IS “WITH AI PUSHING THE HINT BACK”. HOWEVER, AFTER COUNTLESS ATTEMPTS, YOU OFTEN FIND THAT WITH THE INVERTED HINTS, THE RESULTS AND THE ORIGINAL FILM ARE A HUGE CONTRAST BETWEEN "BUYER AND SELLER." STOP USING SIMPLE AI INVERTED HINTS, WHICH ARE CURRENTLY THE LEAST EFFECTIVE AND MOST SUSCEPTIBLE TO FRUSTRATION IN AI VISUAL CREATION. TODAY, WE'RE GOING TO TOTALLY REVERSE THIS BLIND BOX THAT RELIES ON THE LABEL, AND SHARE A SET OF REAL..

WHEN A NEW HAND WRITES A HINT, THE MOST VULNERABLE ERROR IS "LABELLING STACKS". WHEN YOU ENTER "HAPPINESS," "VIOLATION", "EXTREME GRIEF", AI TENDS TO GIVE A "TOO HARD" OR "FACELESS TEARS" STANDARDIZED RESPONSE. THIS IMAGE, WHICH IS COMPLETELY UNEMOTIONAL, IS HARD TO RESONATE WITH THE AUDIENCE. THE REAL HIGH-LEVEL ACT WAS NEVER TO PUT EMOTIONS STRAIGHT ON THE FACE, BUT TO HIDE IN THE DARK OF MICRO-EXPRESSIONS, THE SUBCONSCIOUS REACTION OF BODY MOVEMENTS AND THE SILENT BAKERY OF THE ENVIRONMENT. THIS CURRICULUM WILL TAKE YOU TO DECIPHER THE THREE CORE CODES OF AI'S ROLE TEACHING, SUPPLEMENTED BY A REAL "NOVICE"..

HAVE YOU EVER EXPERIENCED, IN YOUR ACCESS TO THE AAI VIDEO GENERATION, THE FACT THAT HUNDREDS OF WORDS HAVE BEEN CAREFULLY WRITTEN, AND THAT ALL THE DETAILS THAT YOU CAN THINK OF HAVE BEEN WRITTEN, BUT THE AAI IMAGE IS COMPLETELY OFF TRACK? ACTUALLY, IT'S NOT THAT AI'S NOT SMART, IT'S BECAUSE MOST OF OUR HINTS ARE NOT VALID. IT SEEMS TO PROVIDE A GOOD AMOUNT OF INFORMATION, BUT THE VISUALIZATION LOGIC AT THE BOTTOM OF AI SIMPLY DOES NOT UNDERSTAND THE DESCRIPTION OF “HUMAN PERSPECTIVE”. TODAY, BY DECONSTRUCTING THE THREE CORE ERRORS THAT ARE MOST COMMON IN YOUR DAY-TO-DAY OPERATIONS, WE'LL TAKE YOU TO THE BOTTOM OF THE LINE OF COMMUNICATION WITH AI..

IN THE PROCESS OF CREATING AI, WE OFTEN EXPERIENCE A PAIN: WHY IS IT THAT THE AI FIGURE CREATED BY OTHERS IS AS IF THEY HAD A BREATH, AS IF IT WERE A BIG PICTURE, AND THAT THE PERSON THAT WE MAKE IS ALWAYS WEARING AN UNNAMED “A GLANCE”? THIS “FALSE” IS SOMETIMES MANIFESTED IN A GRUELLING SENSE OF FACE LIKE A THICK, FAT COAT OF OIL, AND SOMETIMES IN EMPTY EYES AND A PERFECT BUT RIGID EXPRESSION. THIS PHENOMENON IS REFERRED TO IN VISUAL PSYCHOLOGY AS THE GROANING OF THE EDGES OF THE “WEARY VALLEY EFFECT” — IT IS LIKE A HUMAN BEING BUT LACKS THE SOUL OF LIFE. ACTUALLY, AI'S TOO RIGID, AND IT'S NOT BECAUSE YOUR BOTTOM MODEL ISN'T STRONG ENOUGH..

A LOT OF PEOPLE ARE MAKING THE AI VIDEO, AND IT'S GETTING REAL, AND PEOPLE'S FACES, COSTUMES, ENVIRONMENTS, AND IMAGES ARE REAL. BUT THE PROBLEM OFTEN ARISES AFTER THE PERSON TALKS. AS SOON AS THE PICTURE OPENS, THE REAL SENSE DROPS. IT'S EITHER THE WRONG MOUTH OR THE FLAT TONE; IT'S EITHER THE UNDIFFERENTIATED SOUND OR EVERY CHARACTER SOUNDS LIKE THE SAME PERSON. IT IS A PICTURE OF A YOUNG GENERAL, A YOUNG CONSPIRATOR, A CALM MISTRESS, A GRUMPY REBEL, BUT WITHOUT ANY AGE, CHARACTER OR EMOTIONAL DIFFERENCE. WHAT THIS LESSON IS ABOUT IS THE AI ROLE VOICE CONTROL. A LOT OF PEOPLE THINK, CONTROL THE SOUND..

In the wave of AI paintings, most people are pursuing “models” and “winds”, often ignoring the soul of the image — the shadow. Light not only defines the shape, quality of the object, but also determines the emotional atmosphere of the image. Why did you write "Sidelighting" in your tipword, and AI gave you a bad light? Why do you always seek the quality of a film into a cheap sugar tablet? This lesson was created to address these pains. We'll take you out of the wrong zone of "blindly written" and into the "precisely controlled light" entrance. Chapter one..

Today, in 2026, we are surprised to find that, like Midjourney v. 7 and the latest version of DreamAi, the understanding of scale and common sense in the field of "Vanctuary" is almost perfect. However, the vast majority of creators, as they move to the next level, are still beset by the same ghost-like problem of the Valley of Terror: that is, the collapse of the synthetic ratio in the “trawling picture”. You want to put a high-quality character model in the context of a spectacular Inhuman Canyon, and it turns out that AI either created a " hanging" micro-microster at the top of the mountain or filled the hall with a model's head. It's not A..

Although the semantic understanding of an AI tool such as Nano Banana Pro, or dream, is already very strong, “precision control of space position” remains a pain for many creators. Many professional courses teach you to plan the positions and movements of people using complex coordinate axis systems or nodes, but this is too costly for zero-base or efficient creators. In this course, we will return to the most intuitive and simple “see-and-talk” logic. Through a no-threshold technique called the Visual Omnibus Emblem, just a simple drawing frame and arrow, and then a basic tip..