CLIP STUDIO PAINT: Drawing a warrior from A to B | Damien Barban | Skillshare

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CLIP STUDIO PAINT: Drawing a warrior from A to B

teacher avatar Damien Barban

Watch this class and thousands more

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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

7 Lessons (39m)
    • 1. Presentation

      0:33
    • 2. Starting with the sketching

      3:41
    • 3. Starting the inking

      5:22
    • 4. Completing the inking

      5:56
    • 5. Continue inking

      6:51
    • 6. Coloring, part 2

      5:30
    • 7. Final steps

      11:22
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About This Class

In this course, you will see the creation of a character from A to B with these three steps: sketching-inking-coloring. You will get all the valuable tips to create your own character based on these three steps. You will see the creation of the character with the explanations going with every things done like the layers, the brushes and the use of these brushes. 

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Transcripts

1. Presentation: In this course, we're going to see how to create an illustration of a face will clip for your paintings. This face is the one of the warrior. This warrior is down by starting to sketch, then to ink, and then to add the color. We're going to see a couple of tips to use. Clicks at your paint. Very easily, willing to speak about the brushes and the layers. Have a good fun in this course. 2. Starting with the sketching: Let's start with the creation of the sketch. So first, we stole my drain domain lines of the sketch with the construction lines that we use to draw when we start writing an illustration. So we start with the main construction lines, crossing the paper up and down. And we roughly draw what will become the main lines of the drawing. When this is done, you can add from right and left. All the elements like the place of the eyes. Well, the face is cut in two equal parts. We can draw the eyes. And all of these Beg, making sure that the eyes are approximately the same. You don't have to draw something. That is, for instance, an island looking on the right and the other one on the left. So pay attention to the symmetry. You didn't have to have perfect symmetry, but a correct symmetry will be enough. And we have to draw the nose. And you can see that I am really doing with very small drawing lines. If you want to drill on this, you can review only this first video with the sketch and see every step, one after the other. How wandering every parts. So you can see that when I am certain of the line to Kipp, I just kept drawing on it with forcing on the on the line, making sure that the final line is being more obvious. And it would be very important when we will start the inking. So I'm doing also the hairs, placing the earth on the head. And from there, starting, adding some additional details that were not previously so important. These details are, for instance, the shadows we can add in different corners. And to give some, we can say some to make sure that the phase is not flat. We have some volumes in getting something he can be very fast to do, but it has to be done anyway to ensure that when you're going to add a color, we'll get some details. Do not make mistakes. So now I decide to, he raised the unnecessary lines, which were the construction lines used to draw the basic form of the face. Just to give you hares. And to get this character. Now ready to draw the inking. 3. Starting the inking: To draw the inking and we'll use the pain of clips you paint. This brush is probably the more efficient one of all the brush proposed. It will be very efficient to draw very thin or thick lines. At 121. Advice I can give you is to zoom in on your illustration to make sure to be more accurate when you are going to draw. So we need to be done. You'll be able to draw a straight line. The inking is always done with straight line. So you have to get the habit to do very straight lines and not having some lies that are not FreezeSize, which are, as we can say, hesitating. Then you can continue to draw N2 ink, all the parts of the face and always respecting from left and right, left and right. To make sure you keep this symmetry, you firstly work on this symmetry when it was drawing. Now you have to keep this symmetry when you are inking. The nose is a bit special because it will not be exactly the same details on the left and the right. Don't put too much intention on drawing too much details under nodes. Otherwise, we'll give something too much obvious. Don't draw too much obvious, knows it will make the Watson thing. Then you can use hashing technique to, to compare these inking. So I just selected the lasso tool to make sure that the hatching is an ongoing. Other, others elsewhere than on this area. And you can see that you can just draw in the selected area without taking any risk to do anywhere else. When this is done, you can continue by selecting the GBM as I do, and I just continue to grow the hairs. So here you don't have necessarily to following the exact step by, for instance, and show you how to do the hatching. But you can, for instance, complete the main outlines of the drawing and then working on the shadows, the hatching afterward. And the mouth is also something very sensitive to draw because if it's too large or too small, it's going to give to your face. Design. And then completing the main outlines. And you can see here I did some mistake, so I will make sure that the line is even more straight. Then I keep using this technique and hatching. 4. Completing the inking: And then keeping using this technique on the other side. So sometime I'm using these allot some time not this is up to you to see to what degree you want to use this hatching technique. Probably want to keep some shadows just for the for the car. Because you can have many colors to use to do to create the shadows. With here, I'm doing a lot of hatching, which is probably not necessary every time. Then I can hide the a sketch to have a first vision on the final drawing with the inking only. So we can take this opportunity to complete some details in the eye is around the eyes just to give the character something more like a warrior. Not someone who never saw battles is guy is probably a warrior woman, is fighting with the swot everyday. And so he has to get kind of tough guy, attitude and face. Filling this I borrowed with black color. And you can see that if you take the time to work carefully on every details, not taking the risk to at 200 things. And some details here and others there. So we continue to ink this drawing. Now the phase is almost done. We can just complete the inking with the what remains here down in the illustration. It's not that important to draw very DDL things here because it's just too cloth is the character, which is very important, is what we have in the middle of the illustration with the face and the sides. And this is y here I'm just filling with the black color and the selection tool as I'm doing here, just representing the shadows. And you can see that if we hide the sketch, we can see what is missing. Many things are missing. So I'm Phil being first with the shadows and then we can complete with by taking back the brush. And again, I'm taking the GPM and I'm adding additional details like the chain mail. And it can take time because you can you don't have to draw all the very small cycle non-kin draw many of them. And then we can continue to use the hatchlings. 5. Continue inking: And then finishing the outlines with the hairs. And you can see that I can try different things, like thing with blood, but it's fully provably probably too much. So can decide to use another technique. For instance, we can make sure that all the lines are closed and the word, if you try to select with the Magic Hand, is going to select everything. So you have to say it's very precise. So we can continue to add some additional black stain on the face. And you will see that it could be useful to add some shadows. And if you see that it's not appropriate, you just controls the cancel what you have done, and you continue to add z's where it seems necessary. The purpose here is not to overwhelm iteration with black things and to have a good ratio between the white areas into black areas. And then I'm using the selection tool to psych areas like this and to fill them in black. And you can see that the contrasts with the black and white is very strong. And this is what we are looking for. Because if you want to create an impact, this contrast is very important, especially in the illustration that are comic books style. I'm sure you leave some of these where. 6. Coloring, part 2: Okay, now we complete with the hatching here to give some additional details. And after doing this, we can consider that as complete. We can now start the color. We're going to see that we have to create a new layer. That we can add, a notion that we will make this layer. So you can right-click on the layer and decide to test different layers. The point is, the color has to be must not cover the black lines. So first, I decided to create the background on which I will add some random lines of color just to create something not having something just flat. So I'm creating this background with some very simple lines and deciding to shoes different, red, which are brown. It's begins red and brown. And playing with the difference colleagues payments to creates a very rough thing. I'm using more or less technique that is commonly used in the creation of artistic artwork. So I'm not going to spend too much time, but this is very important to draw and to create the color of the background first. Otherwise. If you create first the color of the face and you will get some problem if you work on a single layer to create them background. So first you do the background, then you can color above the hairs here. And it's not problem to cover the red color that's put on the hairs. In fact, we can say that you can draw the color of the background. And when this all what is in the foreground is done afterward. So I fill all the hairs with the kind of not black, but it's a between blue and grey. Even if your character is supposed to have black hairs, will never use black, a total fool black. You always have some lights reflecting on the hairs that make the color not totally black. Then I'm flowing with the red. Has a red cloak. To get faster, you can just use the selection tool. And I created a shortcut to fill the form with the color of the foreground. Then I can pick up the color of the hairs. Can use alt button on your keyboard to activate the color. The tool that will allow you to pick up the color you want. So here we are more or less just using a flat color. It's very simple. And when this is done, we will be able to add some different lights and shadows that would make the color more complex. And here I'm already adding some reflects by using the color of the background is lighter. And this is very efficient. And to do so. 7. Final steps: And now I'm doing the same on the other side to create some lights on the hairs that are the same line than the color of the background is really introducing the character. Then the illustration and making it real. And making the restriction belonging, making the character belonging to the illustration. It's not two separate elements. And then during the color of the face, every parts. And if you have a large parts, you can select with your selection tool. Then using a smaller tool to complete the missing wide parts that were not selected. Based selection tool is very important. Do not leave any whitespace. Otherwise it will not make your character very well completed. And then when this is done, you can see you can pick up the color and sometimes the same color in their hairs. So it's a technique that can make your drawing very much more intense when you pick up the color of the background are of the part of the drawing and using to create the reflects. The hairs are sometime on the arm or if you have a character wearing a play a chain mail our plate armor, you can draw the reflect with not only whites, but with the color of the environment are of the character reflecting on the metal. Then I can select when you have flat color, you can just innate in by one-click and when you select it and then you can just add some. Shadows with a very large tool, like airbrushed with Docker's color, like a brown. And then using it very slightly to add some shadows. And then using this technique again, using the same technique again and again for every parts of the drawing that could be concerned by a shadow. This technique can be used in many ways and you just have to stop if you feel that it's too much, it's going too far. If you add too much, if you feel that you don't know, if you have to add more shadows like this, then may be you have to stop because it could be too much. And then I am whitening eyes. And now we are more into details trying to add some lights. And the place of the phase where the light could be to chain some parts of the character. Then I'm adding some light points just to complete this light effect. And then completing the last parts of the drawing. Where the shadowed could be important. Line just above the eyes where we previously did hatchlings and maybe build a hair's. Again, has to be carefully use because too much shadows could overwhelm your drawing with too much things. C, where we position gives you all the hairs and where we can find the shadows, any place of the shadows. And then maybe playing with some additional colors, like car. So you have to work between the bands of the lights and dark colors. And then you can complete with a chain mail, completing with the brush. And now I continue to add some shadows with the selection tool. And adding the final steps. For instance, here divides was too much so I flooding the color a little bit. You can find some tools that will flood the colors just to make it less visible, still there, but less visible. And then the same technique is used for the parts of the armor on the character. So we are down now you can see in this demo how you can use different tools of clips you paint to create your own illustration. It's a face of a very specific character, but this technique can be used with an entire character, your own character, you just draw. So feel free to, to create your own Canada and test all of these techniques. And you can also review over and over again all of the steps I'm showing you here. For instance, with this last steps where I'm applying abroad shadow parts of the dream and abroad lights on the other side. And just to make the illustration more powerful.