COMIC BOOK creation: Inking and coloring with CLIP STUDIO PAINT | Damien Barban | Skillshare

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COMIC BOOK creation: Inking and coloring with CLIP STUDIO PAINT

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 (1h 9m)
    • 1. Presentation

    • 2. Iniking Part 1

    • 3. Inking Part 2

    • 4. Coloring, part 1

    • 5. Coloring, part 2

    • 6. Coloring, part 3

    • 7. Completing the coloring

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About This Class

You would like to learn very efficient tips to ink and color your drawin with Clip Studio Paint? This course is done for you. You will find here the creation of an illustration, from the inking of a sketch to the coloring and the adding of special effects. We are using here Clip Studio Paint, but we also talk about transfering into Photoshop. These different techniques I'm teaching you here are going to give you very efficient tools to create beautiful comic book illustrations.

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1. Presentation: In this course, you're going to see how to use keeps to do paint to ink and color a comic book illustration . You will learn a couple of things like different brushes. You can use different techniques you can use from the inking and for the coloring. 2. Iniking Part 1: I'm starting this course with both sketch already created. This character is now being inking. I'm thinking the first outlines of the face with clips of your pains, and you can see that on choosing a G Pam tool. The jeep ing tool of the software is very great, is really great tool. I'm probably using Onley this tool to do the thinking of the characters as this is giving a very, very thin our think line. According the pressure you're using in your template, you will see that this tool is also very good for any kind of manga or comic inking. So first, I always start by thanking the face. Because this is the main important point off the illustration. This is the face of the character. This is the point that people looking at your illustrations are going to look in first place. If you don't start by this, you may be full into mistakes. For instance, if even if your sketch is well done, um, when we were in King attrition with China Inc in so on, we had the habit to start always with center off the upper side illustration just to do not take the risk to two damaged in China Inc with the right hand with a hand without drawing, because you see if, um, if China is not completely, uh, we can say drying. If it's not a little dry, we can fall into the problem off having the hand damaging this. So we kept this habit, and we always start by trying a tool, as I'm doing here, trying to find lines and trying to do hatch ing's. When you do hatch ings, you are testing if the tool is big enough. If your brushes big enough are nuts, and then you can change the size of the brush or changed it brush completely if you're not in this fight. So the point here is to draw first the line of the head and to draw the outlines. The outlines of the character will always be a little bit more thick than the lines inside the character. If you're sketch is betrothed like through the case here, it's not a very well done sketch. There is many lines were not sure if these are construction lines are if these are final lines off the sketch, so make sure you well know your nutrition before starting to ink, for instance, here as a draw, this character, I perfectly know exactly where I'm going. So I'm drawing an inking every lines of the hairs. One shot on D just ring in line. I'm not I'm not, is dating. I'm not doing something very slowly. Just grain. One time, one line. And if you do mistake, you have to look to be on the software where if you do control Z, you can send the steps you just missed. So here the thinking is not probably the best one, because this catch was not very well detailed. But you can go back to any details like here that I was not completely done. So I'm finishing it and added some details that later. So this is very important to understand that if you are thinking on ah, software like lips, Jew pains, you will get very interesting tools, and you don't have to be afraid of doing mistakes. You can he raise. You can go back on drawing the details. This is better if your sketches well done in first place, because if your sketches were done, then you will have less possibilities off doing mistake? Well, you are thinking so. The problem here is the light in the eyes. It's not looking the same place, so you can see that I have a couple of problems. But if you feel that you don't solve a problem on its specific details, don't get pissed about it. Just continue to draw what you know what to draw and to think. And you will come later to this problem. You will see that when you progress on inking character, you will not. You don't be stuck on something that is causing you troubles. You just keep going on thinking what you can and you will see that to details that what problem with that was problem seriously will probably be solving itself all. You will find it easier to handle when the character is almost fully done. So one of the points is also to take some distance. Time to time, you zoom out, you see the result and you see if this is good enough. If you have to correct things now your eye is going to be. You can't have it off finding either enemy states because there is something that's going not going to make sense to it. You will see that if there is a line that is too thick is going to be obvious. So right now it is the first step, the thinking, so even for the body. You don't spend too much time in the first details. You don't buy the occurance. You can see here just doing all the airplanes when with very straight lines for the more the club is belt everything he's done with very straight Ling. This is I'm drawing here with the graphic templates. This is a welcome synthetic 13 peak cells starting inch and he's very good is a smaller Santic tablets, but the screen appear on my tablet, and this is definitely something that will make your skill improving and being more precise . While you, your drawing the graphic tablet where you have to look at your computer screen while your hand is a set on the tell, it's it's sometimes not very natural. The high as happy to depend that is drawing on paper, and when you lose this, you can lose some some precision. And he could be hard, something truly the such tough. It's about the ball we have many professionals were doing so. So, yeah, I can continue here to draw the different details. And when I'm done, for instance, here the arm is completely done with the outlines. I can start drawing the lines inside, but first maybe start drawing all the outlines first. There is not exactly exact precise rule that it that you have to feel it if you feel you can being something stuff like this stuff always. But what seems to be very simple to you and then finish with the more complex details, even if for such details you have to on layer, you can add a leaders. Don't inking on it. And if this is not correct and you just read the layer, you don't take the Reese to damage your entire in King Lear. And if the additional layer you just created for testing is correct, then you can merge the first layer and the signal earlier you use for the inking. Then you complete the details, and you can see that such details, like the the do forms like here, could be something very hard to draw with one single straight lines. So here I'm using freeze straight lines here to make sure that I have the overall form and you do not do something like this. You always try to get a straight line. If you don't succeed in the first line, you use several lines. But in the end, the result should be straight lines. Then I completely details and we're done with the first parts of his course. 3. Inking Part 2: second video. We continue to do all the thinking. You will see that we just keep going on on the same technique I'm trying to in every details off the legs. And there is sometimes more details on the ER per side of the body than on the legs, the legs or not important compared to the expression of the face of the character. Off course is all the restrictions completely well done and without any default, and soon this is perfect. But sometimes you don't have the time to draw a very precise a comic book frame from the beginning to the end, and you have to select what is going to be well detailed and what is not going to be detailed. So if you have to take a decision, you first take the hand expression of the face, our priority, and then when you're done with this, you continue. But I going down illustration. This is also one off the one of the reasons we have starting with the face because when we start thinking drawing, we have the time and more. It takes time and as we have time and we usually not brush if I don't brush illustration. We just on trying to go faster. And this is why we always stopped drawing from the face to make sure that we have the time to old details of the face. So here we can see the overlay of the different layers, and we have the we can sometime hide the This is catch and let's appearing the thinking only because this is giving you the final results and what is going to be so This is good to have an overview of the final result first and see if the thinking's enough or if you have to be more focus on some things. You can also already invasion. What is going is going to be or getting the color, because color is something that's that is going to complete your nutrition. That is something we're going to see in Cygan, uh, part of this course. First with two. Complete the thinking and the coloring is going to be done after that. So it's not so bad. We just keep going on on drawing the outlines, and you will see here we have kind of curve, so make sure the curry is done in one straight lines. And if you don't do so, just continue. Has this curve re present something that that is they were important for the woman character because the tapes of this character are very important. It gives to this character this very a sexy attitude. So if you miss it and you have angles off your lines that not straight, it's nothing to make it. He has to be very careful that it So now we are almost done with legs and we continue with the last arm. Now we are doing all the details inside arm going to see that I added probably more details , then on the other part of the body. And all these details are going to be added like very small hatch ings to give some of them aged Dexter like this very smoke. Don't put this everywhere. Otherwise, you're drawing is going to be overwhelmed, and it's not going to be interesting. You do all the details like this once the outlines of your drawing complete, and you make sure you put all these details correctly. I mean that you have to respect the carrying off balance and don't put them randomly everywhere. And some parts will have plenty of these and the others are not going to have all the details is not going to be very interesting. So you first do old outlines and then you just have on these acting things. So now I'm working on the hand. It's something the him that could cause you Probably many troubles you can learn drawing hands on the very specific course I'm that a way for opposing courses about it, as when the hand is not done. He could really make your character ridiculous So you can always have you covered toe having the hands in the pockets are behind the back. So you have some time be Ah, you sometimes have to draw the hands and if you know 100 really ans you will know also how to ink then so probably almost done with thinking of this character. And now I'm going back and foolish up for a second to just find the background, our work out something here I'm selecting and you character. I'm creating a new document and I will use dear light colored filling the space with the background color Here. They're random brush foolish, and you will see that I mean to work on something interesting. The background is going to be a random color like this was a different kind of blue. And the technique use is to overlay couple off different coloring with different. Also different brush if you want. It's not very important the brushes I'm using here and when the colors don't, I'm going to select filter and selecting directional there. I'm searching for it and you will see the duration of the war is going to give you something very interesting. Let's see where it is. All right, directional blur you can you have a blur effect with one direction and this is getting something. They're interesting. This is stretching your color like this and creating very, very interesting Bagram's. 4. Coloring, part 1: All right, So now I'm going back in clips, new pains. And I imported my background. His background is putting a layer, and this layer is applied transparence motive before Make sure you don't have this lock to If you have this lock, you cannot move. Anything will change anything. So you click on it and you unlock your bag room something. It is something that is happening when you import in the image. And then I'm applying the military plane moment to my layer and we have in transparency the thinking of the character Su from their way are starting to apply the color. And by the way, I just used for the shop. But if you don't have for the ship, you can try to use another background. If you want to try it. It's a problem. Soon I like this very effect. And his wife, sometimes amusing for backgrounds, give you something if you shouldn't faster to do so Now I'm selecting my character, my thinking character. So don't missed the right layer sinking slayer. And I'm sure this is the one. And I can use the moving tool to place it in the center off my working space, all right, control T to get their hands over the drawing, and they can straits the drawing to get it a little bit more a larger. So make sure you take the angles to do not have transformations of the size, meaning, transformation of the proportions. You have to keep the same proportions. Don't get a larger our Athena character. So when you place correctly you're drawing, you will Then start the coloring. Then you go back on your Bagram later. You have to choice. You can either draw the color in the same background, which which is going to be the color. They're all you can create. The new arrest a layer. The rest of layer is just layer where you apply pixels with normal brushes. I'm not talking about, um they don't later. So I'm freaking you rest a layer applying directly a multiplayer mode and I can change the name the first I'm just creating normal modes and with normal layers into have not this transparency effect. So we're going to overlay if we drawn this layer, we're going to overlay with this with painting and we're covering all the layers. So in selecting this time. No pains tool because I like it. It's very close to do really old painting, and you can see that we have interesting things. The texture of these tools could be very interesting. Decide first to put some snow because this girl came to work in the snow and I'm putting the rerun, the white going So it's very simple, white, nothing to it. And from there we have kind of backgrounds here here, and everything's going to change and already adding some blue color. These flu things just reflected the daylight on the snow. No snow is never white like did. There's always some a fixture, different kind of color because this is very white. All the light you have in the environment is going to be reflected on this white. And this is why I'm adding here additional. Ah, additional lines with the blue. We she's, uh, the kind off. It's very similar. Ghoul in the background is great to have the same color apply on two different a place administration. So now I have done, I'm done with the different lines. I have details a little bit with some touch that will make this new a bit more. Uh, like it's no like powder and again suffering. There's a tool called soft ing watercolor that's going to give you these very soft aspect, and there we already have this kind of snow texture. Then let's start drawing the background. I'm just drawing the first very, very first you can say form and then my medic some colors between gray and black and always suffering these colors. And you can see that if you saw only one side of this line, you will get something very, very and creating a kind of effect you can find in. In illustrations are video game illustration. So I'm working my Bagram with such technique. Little dilated, just making sure that the background is appearing piece by piece. Don't do something. The ref in a row. Suddenly we tried to do enough background that is very blurry, very mysterious, and we can overlay a couple of different things. Here we have the snow in the background, but that is not very clear, because we can estimate there some wind are there is some mysterious things happening, and such blur effects is very ah importance to give Mr use as states and everything is very important. Demonstration and atmosphere has to be working out on the hills of the character, the color, the face expression, all the background. You cannot really give something very Mr use if the girl will be on the beach with sunsets and with eliminates in the hand is not going to give the same filling. So we have to give this administration very dark aspect with some additional and the collective dump blue, and we can play with these different colors. And you will see that when you work and such illustration you overlay constantly all different colors. Don't take the time to erase something you don't like. You just put another color on it and it will probably give you something interesting. 5. Coloring, part 2: All right, So now we continue with the coloring. You have already the first the fiscal color ethic of the snow and the background that is now down. So we just keep going on on different effects. From there, we can decide to add original stuff on the background because you there is probably not enough informations. You have to make sure you're doomed, have too much blank spaces. And all around this character we can have. We have blank spaces, their colors. It's too blurry to two. Met this like this so we can continue the difference. A thank you have here kind of forests behind. But if you draw vision visitations, you don't choose a green color. In such frustration, you always play with the different gray values because we still are in a I'm kind off fantasy universe are where there are some dark environments and to use some green rule at some joyfulness on your registration. And this is not what we're trying to communicate here. So I'm playing with the backgrounds years and playing the ground of the just do fit of the trees and trying to work on something, giving the feeling that we have a kind of places behind, with trees and with snow. So we came going on, working sometime with everything brushes with still brushing that are very transparence. You can see that the color is very, very so you can add many transparency on even on your brush. And when this is done, when you feel this is complete, then you can start drawing the covering of the camera. And the coloring of character is done with very flat color is going to be a very visible difference between the background that is working out with very colors, and character is going to be working out with in first place flat color so you can see the color of their hands. It's creating again of contrasts with the rest of the registration, and this is exactly what you're trained to get a contract between character and Bagram. So now I'm just feeling old. Form's off composing this character, if you're outlines, is well done and there is no hole in the lines. You can just use the selection tool and fill it with the tool that is appropriated to fill one form. That's if you don't you can just paint with your tablet, which is going to be longer, but which is still possible. So now I'm trying. Teoh complete some details, like completing the lines you can see. And I'm also now selecting. I'm using the section tour, and I'm selecting all the body that is still not having any color. The reason is very simple. The suited the character is going to be the same color. So I'm selecting everything here, and when it's going to be selected, I will fill it with the same color. So take the time when you are using the selection tool, because if you, by mistake, do a double click, it will conserve your section and you have to start all over again. All right, so I just created the color and just choosing what could be the best. This one is good, and from there I can zoom out, see if it it's correct. It works, and I can do the same with the rest on using selection tool to select the arms and legs. All right, so we can take a bowl of minutes to stake everything into fillets, but you don't have to paint it, and she's probably longer it will take for the same late of time. So now completes by feeling different pieces of the bodies that are not covered by the suit with teenage shoulder, and then we are going to be done with the first part of the covering of the character, which is adding a flat color. 6. Coloring, part 3: when you are a drawing the color off each details like this, make sure you do it completely. Don't leave any small dots off our pixel and card, because when you will Zuman, you will see all this very small problems and is very important to cover correctly all your drawing. So to do so, you zoom out, you just check very with large overview, and you see every point you have to complete. And when this is done now we're going to at the white on the I and the eyes, and we keep using flat color to complete old needed the color needed. Here we have the mouth of the eyes, and then we will start doing all the additional color effects. But first we just keep going on on adding flat colors, the blue eyes, de Malle's. - The reason why we stopped by using flat colors is because when you want to select one part of the body, it is easier to use when you use the selection tool. Here, for instance, just elected the arrange of the hairs, so I selected it, and then I can work on the more precise coloring, like with the shadows but it will work on Lee on this part of the drawing you can see, and there is no change that I'm drawing on background or on the face, because this is only the orange of the hairs that are selected. So I start drawing some shadows very lightly, and from there we're going to add additional light effects to give this hair style. You can see you can play with the contrast between the shadows and the lights and is going to give you this very interesting facts. So don't put too much also just at what is necessary and how to define what is necessary it just to see by zooming out. If this is enough for now, and with the practice, we would get a habit step by step. You will see when you have to stop or if you have to continue and what is also important, it's to draw the background of the hairs with the dark color. So you always shoes the original color when you do the font color and you get a single but with more dark. The same with Docker in the U of life here for the hair's going back behind the head. Then we do the same for the color. In other face, you can see I'm just playing one line on one side of the face and I'm not. Adding much is important to just consider that one part of the face is going to be in a shadow and one part of the facing to be on the light. So Joan don't put shadows on the two sides of the face. You can see here. I'm just adding some light here. Some LifePoint and I will probably get something like here this tool with the color mix. I'm flirting a little bit and give you kind of graduations here. And as we only have the skin of the face selected, you don't go. You don't damage the color of the hairs are of the mouth on. I'm doing a first time with this mixing coloring, mixing to get something like Grady in, and I go back with a second time off shadows, and by doing so, it will create again a very intense graduations for your drawing and get a light colored like effect. Very interesting so you can see could take time to adjust face. But As we said previously, the face is probably the more important element off your drawing. Every people were going to get your registration will first look at the face of your character. It's like when you see someone in the street and you want to talk to him, you first look at his face, not the fits. So this is important to spend more time drawing the color of the face. So we go on this calling technique, we go back and wait to go back. We continue by adding overlaying another shadow technique, and you do this two or three times by growing more and more into the details of the shadows and light. And when this is done with skin, you finish with the colors of the eyes and the mouth, all the details inside face. 7. Completing the coloring: The final step is to have this shoot selected and we had the shadows. The shadows work exactly. Then what we did on the face. It means that we select the original color of the shoot and we get the dark color of it. And we had the shadows where there supers to be. And this is also problem that sometimes we don't know really where to apply the shadows again. We can imagine where the light touching the character. So we have down the the body, different places where I'm showing you here, light places and dark places and when we have place goals is to things were going to mix the color to have a kind of grand. But first you have to place all the points off light and all the point of shadows, and from there within two used its mixing color mixing two. And you see, we have a very interesting graduate appearing on every forms of the body. And as we sent for the face, we don't just leave. One won't layer can say off coloring on adding additional reflect lights was very small, blurry, shiny effect our doubts off color put here and there. And sometimes I'm drinking line and just on mixing one side of this light. So here I'm also drawing the the damage cloth and making sure that there is no more Ah point Orpik self that not colored. And I'm also adding some details like and Juries, because if the coffee is damage, we can imagine that the skin is injured a little bit, and we have here a couple off light effects. When we zoom in, we can see every one of them and see hard than done. So you have to play with the different effect and see that everything is done on the same layer. I'm not playing playing with 20 or 30 layers or whatever. I try every time to be very simple and no matter what, the result is quite good. So you don't have to feel overwhelmed by all these demos. Are tutorial can find on the web that whether they are using 20 or don't know how many years, you don't have to do so. Very simple. Keep it for recently. So we continue with the with the legs and we are going to apply the same technique shadows light, mixing the color and additional right defect in shadowy things. - And then we can add very thin lines on the suit. And they're done with one thin light line and one thin shuttle lines and you will see give you some, um, some effect, like if the shoot was scratched. So this is important to get such effect because it really give reality of the fight she was involved in. Probably site of probably an accident. I don't know. On old story off, the illustration is said by what we see here, because you have to get that even if this is only one illustration, this illustration is probably communicating, putting things we can imagine that she's hunted by an enemy are she just got our spaceship that's crashed on the planet, and she tried to find your way. So we have many, many, many things to say on the registration. So here I will win for the shop and I'm going to get my nutrition. And yet, so the illustration is almost done, and we're going to see that first, when you exporting PSD from clips you pain, you find the layers in foolish up so you can go from clips of your pain to foot a ship, so this is very good. - So here in foot ship just wanted to add some kindof power out of her hand and force this I'm creating a new layer in finish up with some very blurry brush. I dissident jumping, finish it because I like this software for such effects and it could be created. Clips do pain, of course, but I really wanted to show you also that you can jump from cliffs that you're paying to for the shop, and you can use to our even free, different Softwares if you want to create very specific effect. And these last effect on junior here, I called this FX special effects. Even if we're not talking about making a movie, I'm always talking about adding special effects on my illustrations because this is the last thing. The past prediction, things we're adding when the situation is is is finalized. It's like if you were shooting an actor moving and you take the movie and you under ethics afterwards, this exactly the same. We created the actor the bag room, and now we're completing the illustration with final special things, So footage shot is also properties in couple of different brushes, you have 1000 off original brushes yet for you probably can't find in the paint. So if you have these two software you can really play and have a good time trying to do original illustration with very, very impressive effect. It takes time, some time to find the right they to to design you will use, but with the experience and by testing, then you will find some time Couple off effect will always use. You don't have to use different brushes for every electrician. The main ones you are using sometime would be very good for all the nutrition. What you are going to work out. All right, so we arrive at the end of this course. You have seen many steps from the thinking of the sketch to the final step off coloring that illustration. I hope you learn interest. It's that you will be able to apply. Feel free to ask me any questions you may have on these techniques. Thank you very much.