Image Space Waiting in Line Kids Picture Hitting in Line Clip Art
For this tutorial, I'grand going to demonstrate how to use Clip Studio Paint'southward Anti-overflow and Area Scaling functions. To practice this, I will use the linework below of the grapheme Yooka from my full-color graphic novel Yooka-Laylee and the Kracklestone based on the video game Yooka-Laylee.
i. Coloring Flats
I'll get-go past cleaning up the canvas and getting rid of the pencil lines on the layer underneath the linework. And so, I'll brand a new layer over tiptop of the linework layer for coloring.
Next, I switch over to Marker located under the Pen sub tool palette and select the Fill-in mono pen tool option as shown in the image below. Personally, I keep this pen anti-aliased when I depict. I don't worry about aliasing because I create total-color comics, and then it's not terribly of import for me.
Next, with my colors roughly selected for my line fine art of Yooka, I will get over how to accept advantage of Prune Studio Paint's anti-overflow feature. Get-go, nosotros will need to scroll farther downwards the tool'southward property palette of the Fill-in-mono pen tool located on the left side of the screen and select the "Practice not exceed line of reference layer" pick located just nether "Stabilization." Checking the box next to it turns it on. Additionally, clicking the small wrench icon in the lesser right corner of the tool's property palette will open the Sub tool item window. In this window, we can find the aforementioned "Do not exceed line of reference layer" option under "Anti-overflow" which is located at the bottom of the left side of the list.
One time I have confirmed that it'south turned on, I'g going to select the linework layer from the layer palette. With it selected, I volition then click the lighthouse icon on the upper office of the layer palette. This is the "Set up every bit reference layer" icon. When I click this icon, the selected linework layer becomes a reference layer that the color layer will refer to equally I block in the color.
Next, I will utilise the marking tool to colour in the head. We can see that the color will now not exceed the linework fifty-fifty if my cursor paints by it.
Nosotros could use the paint saucepan tool here too to fill in the colour, but I utilise the marker instead. Sometimes line work volition take gaps that are a little scrap bigger than the pigment bucket tool's Close gap feature tin can accommodate. As a upshot, I don't rely on it as well much considering often when I work with line fine art, I simply desire to color a portion of it and not a whole enclosed area. For example, mayhap I only want to colour one-half of his caput green so employ a different colour on the other side. Using the marker allows more control and flexibility to color the same expanse with multiple colors as I get, while still limiting the color to inside the line art.
*The Close gap feature is located in the Paint bucket sub tool detail palette nether Fill up.
With Yooka's face color complete, let's motion onto his crest color. I color them using the same method as before. Y'all can come across in the images beneath that there is a niggling bit of white coming through at the corners of the line work here and there. In this case, we tin merely switch over to the Pen tool and color those areas in.
Another feature I would similar to cover is the Expanse scaling feature, which can exist found in the sub tool settings. When using this feature, yous tin scale up the area you lot are coloring and so that you are too coloring underneath the line fine art.
Here, I have the Area scaling set up all the manner up to twenty. If I hide the line fine art layer, I tin can meet that the colour is indeed going all the mode up beyond, but within, the boundaries of the line itself. In the image below, I take lowered the opacity of the line work. The grayed-out area shows the edges of the line, so you can run across how far the green goes under it.
Next, I want to show yous what happens when we don't employ that feature. I will make a new layer and fill in the crests again.
Do you detect in the image above, there is a white ghosting edge around the line work? This is a really large problem for press. Sometimes the plates get a little first, so using Surface area scaling takes care of that potential printing issue.
After adding the flat colors, I move on to shading. A technique I find specially helpful is to suit the maximum size of the castor itself while yous paint. For instance, when shading effectually the optics, I'll shrink the size down of the brush to fit in the hard to reach areas.
Notation: The default brush size adjustment shortcuts are the left and right brackets ("[" and "]".)
two. Bounced Light
Next, I'll show how I practise bounced lite. Let's imagine that this is a sunny scene, perhaps he'south standing over a pool of water that'southward reflecting a bright blue light back up to him. Creating a new layer in a higher place the shading layer ("Layer half dozen" beneath) with the Blending mode ready to Screen and irresolute the color to aquamarine, I start painting the underside of the character.
Because the layer is set to Screen and is placed over the shade layer set to Multiply, the brush colour is added to the shading. While painting, I think about light that's shining upwards. This is basically what bounced light is. You lot tin can see this easily every bit well: if you were to enter a very brightly lit room or a sunny day and hold your paw over something, you'd see some low-cal reflected from the ground on your palm. I like to exaggerate bounced light a little, to go as much as an effect as I can while besides creating a very realistic environmental illumination.
3. Ambient Occlusion
Ambient occlusion is a CG term and unremarkably doesn't apply to traditional fine art. However, it is applicable when working in 3D space, and is an extremely cool effect if done right. The idea of ambience occlusion is that there's a deeper shadow where objects are close together. Imagine the corner of a room; the corner of the room will exist darker compared to the rest of the room, equally if low-cal can't actually go into the crevice equally tightly as it could otherwise. Oftentimes, I'll do this on a multiply layer, adding in shadows that get over the line art to intersections, which add just a piddling more than realism to the piece. Even if it'southward using cartoony shapes, it's expert to increase the realism considering yous won't have to limit yourself to the flat furnishings that you go with traditional comic shading. Just by calculation ambient occlusion, you can add hints of realism to the coloring.
Above: Yous tin can run into additional shading, or ambient occlusion, in the right image around the corners of the eyes, the mouth, and along the eye socket.
Creating a screen layer, I'll paint the highlights with a harder brush with low density. Painting the reverse of a bounce light; that is, painting highlights where sunlight will hit, I adjust the size of the brush to create hard, sharper lines.
With these lines we can indicate texture, as the texture of the eyeball should be different from his peel. Similarly, we tin can add together harsh highlights to the skin below his middle to make it shinier, indicating perspiration.
Finally, I'll add together color to the lines. If yous expect in the layer palette, you'll meet an option called Lock transparent pixels. If I click on that choice, whatever painting applied to the layer will be limited to the line itself.
Outset, I'll select a color that's like the main fill color. I'll than darken that color and go over the whole layer with a large pen brush to apply the color evenly and create a base color. After that, I'll go into individual sections and colour the lines to match the surrounding area. For instance, the carmine of the crest and blueish of the eyes would exist used equally a base of operations to color the surrounding lines.
That'southward pretty much how information technology's done!
Yous tin apply the same technique to the groundwork likewise: putting flats in, calculation shadows and ambience occlusion, and adding highlights.
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Source: https://www.clipstudio.net/how-to-draw/archives/161828