CLIP STUDIO PAINT: Inking and coloring a comic book page | Damien Barban | Skillshare

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CLIP STUDIO PAINT: Inking and coloring a comic book page

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

5 Lessons (41m)
    • 1. Presentation

    • 2. Drawing an Orc, completing the sketch

    • 3. Inking the comic book page

    • 4. More about coloring

    • 5. Final step of the color

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About This Class

In this course, I'm going to teach you how to simply ink and color a comic book page. I'm going to show you very simple tools and giving you tips to make your work very easy and to get rapid results. You will see that there is no need to use too much things to get a good result.

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1. Presentation: in this course, I'm going to teach you how to use clips you paint to ink and color a coming book page. I'm going to show you Web tools amusing and how you can create very simply, the thinking and the coloring with the different layers and other tools. 2. Drawing an Orc, completing the sketch: here is the coming book page. We're going to work with thinking in the coloring. First, we're going to start with a sketch, and we're going to see every step to do with clips to do paint two realities. Such work. So first here I have a clip snooping project that is a coming book where on Draw owned the sketches. So I'm taking one of the page, which is the work we can see here on Lee with his catch and the two frames and for things to do before the start thinking is to complete the drawing. This is a vital step because if you don't do so, you may have quite some difficulties to do a very efficient inking. Always trying to complete the sketch and have something wishes enough accurate to donut be falling into the problem off. Not really. Be sure that the line you have to think so here. I'm complaining this very rough sketch. It was really rough sketch. He took me seconds a couple of seconds to draw this sketch, and now I'm completing with blue paint. So why the blue paint thing is a very soft color that is very easy to to decrease the opacity. When you have the blue, you can decrease the opacity of this color, and you can have something very soft, which is not giving you too much trouble to ink above it. Off course, we're going to use a new layer to ink. But even when you are using a new layer to ink sometime, if you're sketch is done with a very black line, you can have the problem off having in transparency some black lines and your layer used for the ink so it may create, um, confusions. This is why the blue ink is a perfect color to create sure your sketch and have something that is clear enough to do not disturb you while you're studying that the inking parts. So when the main lines of your character are draw, you can either start drawing even more. Details are start drawing on the new layer, the thinking as here. I very well know this character. I can already start during the thinking. I know how to do it because I know this character. If you are thinking the character drove by someone else and you are not sure what you try to draw as came to do something more accurate because you're thinking may re present details that are, in fact, not here. So your interpretation of the sketch maybe un correct here. I'm the only one artist working this stuff, so I'm just using my imagination to do so. And here in the cliff, stooping the best tool for the inking remain the G pain G pain you can see above on the left side of the screen will give you a very accurate and thin are fact difference in depending on the proprieties tool that will represent the natural. Inking tools like a brush are something else, so you can see that I try to do very straight lines. I'm not trying to some hatching on the outlines of the character and trying to work on Avery parts without a stations and while on done them the parts. I can also add some couples very small and thin lines inside the teeth and face, and trying to respect the outlines of the character that are very thick lines and inside body thin lines. For the details, try to change the size off your brush. Depending of the outlines are in the details of the character. This is very important because all if all the lines have the same thickness, it's not going to give you something very interesting. You will get some different aspect in some different ah changes in your in the movement of your character. More. You changed the lines more. Recreate some intensity in the in the size of the brush. Your using more characters will will have this life itself. You can see the orchid being very dangerous and this realistic even if if this is a fantasy illustration, there is something very realistic in this that is given, like this changes brought by this change off brush size, so you have to take the time needed to in the face of your character. This is very important because the face of the characters is normally the first thing that is looked by the person looking George illustration. It's when you met someone it straight. Your first look at the face to see the eyes and expression person you intend to two minutes . This is the same when you're drawing illustration. Always start with the head it the same faults catch. You always start drawing the head. Then you do the inking and you always no matter. If this coloring the thinking of the sketch try always to stop by drawing the head. So now we're almost done with the face. We can try to hide this sketch here to see the final results. And if you are satisfied, then you could jump to the next step, which is the step of the thinking of the rest of the body, which I'm starting in here and we're continuing in the next video. 3. Inking the comic book page: then continue with the thinking of the Armel of these Orc. You can see that there is a count off exist reiteration of the size of Armel. This is definitely done to represent this fantasy world and to give to this creature this work very powerful attitude, the position in the page itself, where it takes all the size of the page and the orchids even bigger than the sight of this page is giving. Also this feeling that the work is very big. So this is a technique that is commonly used to give very importance to the situation. We have double thing to represent in this page. First, the work has to be very powerful. Cygan. The situation is very important. As the hero down the screen, he's confronting very dangerous enemy. And all these details are represented by the position of these characters here. If you will draw the work in a very small frame, you will not give enough importance to the character. So everything counts while you draw your coming page regarding the position of the work and how you think it, how you use your thinking tools to give importance. You can see here I'm using some hatching to complete the details of the inside of the Armel . I could just make some black and filling this space with only one single black color. But I'm not doing so because the hatching are also giving some movement and some additional details that will make this work really dangerous. So I'm also giving some shadows on the neck of the work, and I will try to give all the small details that will make. And then this character being the more important one of this page, maybe later in the story is being killed. Maybe is the re stupid or whatever, But right now, in this page, this is the more important count. So you have to take in account. All these details about what kind off attitude are went kind off importance we have to give to the character you draw and are cutting to this importance. You have to give, uh, the thinking and it is catching and thinking which is going to communicate this there . I'm feeling good part of the armor pisses with black color. This is done to make the phase more, which is in the middle of the page more intense is the contrast that we can respect with some black and whites and to have the face with black in the mouth and the rest of the face . White is going to create the necessary contrast with the black color on the armor and even on the weapon to make the person reading your page, looking first in the middle of the page, looking at the face of the monster and then looking around. But you will see what is all around page is important. So this is where you can put a less details. The arm or the side of the arm or and what is near the borders of the page are less important, so you can skip some details, but not too much, because you can have plenty of details in the middle of the drawing and no details at all in the Borders, Wish will not make sense. And your reader, the person reading your story, will probably see it. So critics of comic book are something very tough. Way can understand that cartoonists artists are something very busy and have to release their commits a book on time, and they have to to skip some steps, Some details and people on Lee during critics of comic books sometimes point out such mistakes are some things that were for gotten that it it doesn't really matter. What is very important is the story if people enjoy your story, and if the drawing is good enough to make the story still readable and not making people focus on mistakes instead off infra cues on enjoying your story. - So here we have now working on the detail of the weapon. This is a would hand he these or keys holding, and we can really make some lines, as I did to represent the hood. This is important also to you the hatching techniques to re present a different texture other arm, or if this is mental or if this is any other, neither used to create this arm, or so you can play with the different lines and different hatch ings. Also using the hatching is here to represent arm or that is damage. So now I'm working on the hero or probably the victim, weaken, say of this work. So I'm also using some black and white techniques. You can see that even if the hat is not that's supposed to be black. We can draw, uh, shadows, black shadows, and this is done to the rather the same graphic technique than on the Orc. You can have two different techniques. If you are using black and wines on one character, you have to use the same technique on the other character. Don't try to change in the same page the graphic technique which will make something weird and try to also to keep the same graphic technique all along. You're coming book new illustrators, sometimes for in the drop off, being so new that they're graphic style improved while they are drawing. It means that from the beginning to the end off novel, you can have the change of style sometimes even think that this is a different drawer. That cartoonist withdraw, um, the characters, which is not the case. It is just the guy who was drawing was really improving. Try as much as possible to respect the same graphic technique from the end to the beginning , into the beginning to the end 4. More about coloring: Now we are well in progress in the administration. You have to complete the drawing off the different hatch, ings and details, and you have to be very careful that what could be missing. You don't have to leave any too wide empty space because if you started to put so much details inside this page, it could be rather the same on the other pages. But more you add details. Morgue are using detail graphic style. More is being longer to drop the entire coming book. This is why there is something very important to have to decide in first step white kind off drawings down you're being using. You're going to use for your on comic book because even if you are technically good and even if you know that you can draw something very detailed if you don't have enough time, are even the deadline. The delay t really is. Your book is very short. Don't fall into trying to draw too much details, and it's better to design to use something more simple. Otherwise, you're being working Dan nights to complete your drawing so you can see here I am done now with the thinking of the page. You can see there, even text frames, and three, the the last frame. The second frame of this page is also completed, so now I'm creating a new layer above all the other ones. This layer is being the color layer, so what can be done is to do some selection of the page. If you don't want to color doom borders from time, it's not important sometimes. So this time I decided to do not go outside to color outside of the the emergence, and I'm selecting the old painting brush and increasing the size to do very rough coloring of this frame. Then I designed to shoes another color, and you can see with the clips Jipping tools, especially if you're using tools like old pains. You will get already the colors that are being mixing together, trying to represent what it will create with natural tools, natural old pains and I decide always when I'm playing the color to get some apart, dark and apart in the night, and you can see that with this watercolors smell thing. What color I can also smooth color to do not have color lines off color behind the characters. This is really this small thing. Toe is very important because it can really save you when you mess some details when you fail to do something good with color. - Now , while the color is done for background, we have to work on different things. First, make sure that you don't have anything more to Athens background because when you will work in the arm or drying the color of our more and so on, it would be more difficult to come back on a detail that is supposed behind. So here I can also make sure my thinking is I can select the part of the armor that I want to color by following the line of ink and when I have selected all of this, I'm just filling this space with one single flat color. While the color is done, it will be there would be only one color, and I will come back on this too. Do you add all the details all the to complete the cora, the coloring off the arm or the skin, the eyes and so on, and you will see there is a technique that is very interesting, especially by using the old paint smoothing of the coloring to make the armor giving to the armor kind auf dem age aspect So you can really play between the old painting, which is, well, mixing with other colors and the smoke coloring smoothing here. Now I'm just putting the the flat color for the skin, and this color is being also changeable bits. When we're going to work on the smoke shadows and light, we are going to add on the skin because mainly when you work on coloring a comic book character, you always have to think that where the color come from, whether lite sorry comes from and here against you already adding some lights, which means that it comes from the right of the page and we can add all these slides on the same side. Don't lights everywhere are shadows everywhere. It's better if you decide from where the lights come from, the right from left and then on the other side. You just put the shows and being rather the same technique for the when you have the flat color, you just and the shadows and the black all the darker color. Oliver on the different lines you can. You can use all the Catchings you have done on the inking to put the shadows with the color . It will be on the same places, and it will. If you follow these lines. It's being very easy for you to know where to play the shadows, on the armor's and on the face and on all the elements and one of the technique to make the armor more important, it's to add afterward some lights on a very some touches of light where you would some shadows. It will create a contrast that would make your drying impressive. 5. Final step of the color: Now we are on the last videos where we're going to complete some details on every parts of this work, and we're going to complete the rest of the illustration to complete these details. You can see that and as I said previously, the faces more important part of the office drawing. And I'm using a thinner brush to add some light and to smooth the light with the grain, which is giving a very and very beautiful face where we can see plenty of shadows and lights all over the face so we can be a little bit faster from the rest of the are more and wet me too, complete with very thin lines here and there to add some light effect on this arm or that is very dim age and not really shiny. But we still have to understand that this is a metal matter. Then we work on the hand with the same technique. First, the flat color, and then we add some light and shadows, and we complete by smoothing these colors a little bit. Then we do for the same for the different parts of the picks, and the wood is a food his holding cities, then small white line to give a national filling that we that he's holding are having some a very small, reflective delight. This metal, and you can come back over and over again on adding such details. But at one point you have to decide to stop and to jump to the the other character. So I'm just feeling this character with one single color and adding some shadows piece by piece. I'm mainly playing with this shadows. I'm not really putting some colors. The first reason is that this character here is human. Facing the Orc isn't as important as the work, so you can use less shiny colors than the green of the skin of the work. So you can play with shadows and lights and it will be enough. You can see just enough, and this is also important to do not put at the same level one important character and another one. She's probably that's important, and this is exactly the case here in that illustration, so I can play with different values off shadows and lights. But that's it. I'm not putting too much colors and we start drawing, ending the color for this last single in last frame, adding some color for the skin of this girl and also create background very roughly, and now I'm more accurate. It's while I'm putting the color of the skin when the hairs interesting to see how the color of the hairs is mixing with the background mistakes. So you raise control. Z works perfectly with your paint and shadows. You use broadly a darker color for the back of the shadows, and then you can start drawing every details, the mouth and the rest of the skin as the skin of the girl is less damage than the skin of the work. Of course, she she has no so much details. You have nevertheless have to draw a couple of shadows and lies, but it's going to be very a smoother and softer then on the orc, but as well. Zooming in a lot on the face is important to do not Onley. Leave the flat color to continue to at some lights, and if you see that this is too much, you just control Z or you as another. You go back with the original flat color of the skin, and you cover your details and you go over and over again and try to find the right balance between the shadows and lights. And if you don't succeed to find this balance, it doesn't matter. You just put your flat color and that's it. Or probably one shadows on the one side and on the other side just put just a line off a flight like this and that's it. They're ive here. You just put small lights and small shadows instead of putting too much and having and wasting this. This, this frame, it doesn't there. So you continue and until you're rich, something that is satisfying. You continue to play between these figures and lights, and that's it. You have your comedic frame getting the bubbles up my color, my layer bubbles of the layer of the color, and we are done with the coloring of this coming book page, so I hope you'll uncouple off. Tips to use keeps your pain to color your comic book pages. Feel free to ask me any questions. It would be a pleasure for me to try answering you based way I can