Clip Studio Paint Pro/Ex (Manga Studio 5) Digital Art, Drawing & Painting | Brian Jackson | Skillshare

Clip Studio Paint Pro/Ex (Manga Studio 5) Digital Art, Drawing & Painting

Brian Jackson, Author/Publisher/Educator

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98 Lessons (7h 43m)
    • 1. Course Overview of the 2019 Edition

      7:00
    • 2. Why Use Clip Studio Paint

      10:47
    • 3. Introduction to Tools

      1:47
    • 4. Computer Requirements

      2:53
    • 5. Selecting the Perfect Graphics Tablet

      13:07
    • 6. 2019 Addendum: Tablet Requirements, Selection and Installation

      5:28
    • 7. Software Selection and Installation

      7:56
    • 8. Conclusion to Tools

      1:11
    • 9. Introduction to Setup

      1:28
    • 10. Software Screen Setup

      3:23
    • 11. Manually Recreating My Screen Layout

      7:04
    • 12. Tablet Setup with Clip Studio Paint Including Buttons and Finger Gestures

      3:13
    • 13. Software Performance Tuning

      6:10
    • 14. Conclusion to Setup

      0:42
    • 15. Introduction to Clip Studio Paint Fundamentals

      1:45
    • 16. Starting Clip Studio Paint

      2:57
    • 17. Screen Layout and Configuration

      7:29
    • 18. New, Save, Open, Close, Export and Quit

      11:23
    • 19. Simply Drawing Using a Digital Pen

      8:26
    • 20. Eraser, Undo and Clear Layer

      2:52
    • 21. Zooming and Panning Your View

      3:43
    • 22. Clip Studio Paint Fundamentals Section Workshop

      5:04
    • 23. Conclusion to Clip Studio Paint Fundamentals

      1:20
    • 24. Introduction to Drawing Fundamentals

      1:24
    • 25. Drawing Lines

      8:43
    • 26. Drawing Curves

      4:31
    • 27. Drawing Circles and Ovals

      3:45
    • 28. Drawing 3D Cylinders

      1:44
    • 29. Connecting Your Basic Shapes

      2:00
    • 30. Drawing Contour Lines

      1:43
    • 31. Drawing 3D Cubes and Rectangles

      1:41
    • 32. Drawing Fundamentals Section Workshop

      7:43
    • 33. Conclusion to Drawing Fundamentals

      1:02
    • 34. Painting Techniques and Styles

      14:49
    • 35. Introduction to Sketching

      2:36
    • 36. Creating a Project, Page and Panels

      5:45
    • 37. Creating and Organizing Layers

      8:27
    • 38. Pencils, Pens and Paint Brushes

      3:23
    • 39. Erasing

      1:29
    • 40. Lasso Selection, Moving, Rotating and Deleting

      3:47
    • 41. Deemphasizing the Sketch Layer

      1:16
    • 42. Sketching Section Workshop

      5:31
    • 43. Conclusion to Sketching Fundamentals

      0:58
    • 44. Using 3D Reference Models

      14:44
    • 45. Introduction to Inking

      2:13
    • 46. Raster vs Vector Inking Layers

      7:11
    • 47. Direct Draw Tools

      7:35
    • 48. Simplifying and Smoothing Vector Lines

      2:24
    • 49. Modifying Vector Lines

      2:15
    • 50. Varying Line Thickness

      2:05
    • 51. Erasing Vector Layer Draw Throughs

      2:15
    • 52. Inking Section Workshop

      13:01
    • 53. Conclusion to Inking

      0:50
    • 54. Introduction to Color Flatting

      1:21
    • 55. Creating Color Layers

      1:44
    • 56. Autoselecting Regions

      10:41
    • 57. Using the Bucket Fill Tool

      7:20
    • 58. Color Flatting Section Workshop

      1:53
    • 59. Conclusion to Color Flatting

      0:52
    • 60. Introduction to Painting, Shading and Highlighting

      1:08
    • 61. Reference Layers

      3:33
    • 62. Spraying On Shading, Highlighting and Shadows

      5:28
    • 63. Addendum: One More Try

      7:25
    • 64. Painting, Shading and Highlighting Section Workshop

      15:19
    • 65. New Clip Studio Paint 1.6.4 Auto-coloring Option

      3:50
    • 66. Introduction to Backgrounds

      0:55
    • 67. Options for Creating Backgrounds

      2:26
    • 68. Flash, Decoration and Saturation Tools

      3:01
    • 69. Gradients

      6:41
    • 70. Backgrounds Section Workshop

      4:35
    • 71. Conclusion to Backgrounds

      0:31
    • 72. Introduction to Perspective Rulers

      0:44
    • 73. Perspective Ruler Workshop

      5:29
    • 74. Drawing with Perspective

      4:38
    • 75. Drawing with 1 Point Perspective

      13:52
    • 76. Drawing with 2 Point Perspective

      9:57
    • 77. Conclusion to Perspective Rulers

      0:36
    • 78. Introduction to Lettering

      1:15
    • 79. Adding and Manipulating Text

      3:41
    • 80. Adding Fonts From the Internet

      3:42
    • 81. Ballons

      3:25
    • 82. Tails

      2:37
    • 83. Lettering Section Workshop

      3:09
    • 84. Conclusion to Lettering

      0:33
    • 85. Saving and Exporting

      3:52
    • 86. Introduction to Comics

      2:37
    • 87. Creating a Comic Page with Panels

      11:13
    • 88. Working with Multiple Pages in Clip Studio Paint Ex

      5:31
    • 89. Comic Production and Distribution

      7:24
    • 90. Comics Section Workshop

      6:17
    • 91. Conclusion to Comics

      0:42
    • 92. Symmetry and Special Rulers

      6:27
    • 93. Layer Lock Transparent Pixels

      3:20
    • 94. Body Proportions (Part 1)

      14:36
    • 95. Body Proportions (Part 2)

      9:25
    • 96. Melanie Jackson's First Tablet Drawing Experience (sketch only)

      2:41
    • 97. Course in Review

      1:24
    • 98. What's Next

      1:21
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About This Class

In this course you will learn to draw and paint using Clip Studio Paint Pro or Ex (formerly Manga Studio 5), the most powerful illustration, manga and comic book software available today.  Using my simplified techniques, you will begin to draw and paint like you never thought possible.  All the way from sketching a basic concept through production and distribution of your finished work, this course will teach you everything you need to know to realize your full artistic potential.

Master Clip Studio Paint, drawing and painting techniques and the digital illustration workflow simply and easily and all in a single course:

o Learn to draw quick and sloppy sketches using a tablet and stylus
o Use 3D pose-able reference models to draw scenes containing human figures
o Ink your drawing flawlessly using modifiable direct draw vector lines
o Color flat your illustration with the simple click of a mouse
o Add color to increase the realism of your illustration
o Shade and Highlight your artwork to add form and dimension while staying with the lines
o Create simple gradient backgrounds
o Draw complex 3D architecture using perspective rulers
o Letter, bubble and tail your work with ease
o Produce and distribute your work for free or for sale on Amazon
o Learn how to format and publish comic books

Gain experience with Clip Studio Paint's most useful features while learning the fundamental drawing and painting techniques most critical for beginner success.

This course manages to remain all inclusive while focusing on the software features and drawing techniques you need to know to become a superior digital artist.  It is intended to teach those new to digital art everything they need to know to produce stunning results within hours.

At the same time, this course is easy to digest and provides a structured learning experience to insure speedy results.  Section workshops and projects are provided to demonstrate each technique taught and offer you an opportunity to perform each technique yourself to demonstrate your proficiency with the subject.

I designed this digital art course to be easily understood by absolute beginners.  That said, after completing the course you will be fully proficient with Clip Studio Paint and digital art and fully conversant in digital art tools and techniques.

All this sounds expensive, doesn't it?  But it's not.  Clip Studio Paint can be had for a free 30-day trial ($29 on sale) and an inexpensive drawing tablet is optional.  This course supplies the knowledge at a reasonable price.

In this course students will learn the fundamentals of digital art using Clip Studio Paint.  Short cuts and simplified techniques are used to streamline the illustration workflow while retaining the quality of your work.

After taking this course you will be a better artist.

So, enroll now to get started.

I hope to see you in the classroom soon,

---Brian

Transcripts

1. Course Overview of the 2019 Edition: Hello and welcome to this course on using clips, studio paint to draw and paint illustrations. In this lecture, I'm going to provide an overview the court so you'll know whether you want to get the course or not and what you'll learn in it. First of all, this course is potentially for individuals new to drawing. Now have you know about drawing? You could just skip the drawing sections. It's also for those new to digital drawing specifically using clips, studio paint. That's what's gonna be demonstrated. But the things that you'll learn can apply to digital drawing in general. It's also useful for the people who are unfamiliar with clips studio pain. I'm gonna do a bit of a sales job and show you the features of this very cool software product. It's useful for anyone new to painting or new to digital painting. We're gonna look specifically at that. And finally, for those that are unfamiliar with the illustration workflow, there's an order in which is you things, and we're gonna talk about that in this course. So what will you learn in the scores? You're gonna learn the clips, studio paint essentials Now I actually took course, it was six hours on clips, studio pain, and it went through every feature within thing, kind of dry in a way, but also extremely informative. In fact, it was this course, and it was one of the better courses. I gave it a five stars that I've seen on clip studio paint. It was just really got you through the fundamentals and how to use every feature, an option in clips, studio pay, and I recommend that you watch it. You're also going to learn how to draw, but must more specifically how to draw digitally and then how to paint your drawings to give him pop in a three D look forum and depth. And then, finally, we're gonna look at the illustration workflow from sketching through inking to painting and shading and highlighting all the way to production. Now, what are the course requirements you need to have a fairly modern computer? I wouldn't try to run clip studio pain on old computer, so I'd recommend, at least on I five, you don't need a lot of power, and six gigabytes of memory would be nice. So it's kind of a standard computer. You need to have a copy of clips, studio paint pro or e X Will dio I recommend pro, and I'm actually gonna talk in the early lectures of this course about what the differences are in which one you should purchase and optionally I'm saying now a tablet now a tablet is very handy when you're sketching and painting. It's not quite as handy, I think, for inking and production, all the set up and stuff like that. I I use a mouse quite often so you can do the entire course without a tablet. So, you know, if you get clip studio pain on sale for $29 you don't have a tablet, that's what you're talking about that you're in to here to take this course Now I'm going to demonstrate the use of clips, studio pain, E X running on a beefy computer in I seven with 16 gigabytes of memory, and it's running Windows 10 not Mac OS, and I'm gonna be using a XP pen artist 15.6 display tablet. So it's one of those tablets that hooks to the computer, but it has a display in its that I can see what I'm drawing on, and I'm gonna talk about tablet choices in the course and why I chose this. Now, here's a course overview. After this introduction, we're gonna look at the tools, the hardware software, the computer, the tablet and clips, studio paint that need you to put together. And I'm gonna show you how to set them up so that they look and act the way that you like clip studio pain, fundamentals or next. And we're just covering the fundamentals. The things that that you really need to know to be able to illustrate clip studio paint and then we're gonna do some drawing fundamentals. I'm gonna show you how to draw the basic shapes. And that's about all you need to know. If you don't know anything about digital drawing and stuff is to watch the 1st 5 sections and you're ready to draw. In fact, that I'm gonna give you a project where I'm gonna ask you to draw next. We're gonna look at the drawing and painting workflow, and that's what we're gonna go through. It begins with sketching, so usually use a pencil for this, but you can use a pen of you want and draw very darkly because you're going to be able to tone that down later through digital graphics and then you anc over it. So you think the lines and we're gonna have a brief intermission where I asked for a review . Then in part two, we're gonna look a painting fundamentals and then color flattening, which is just filling a solid color into the various regions of your image and then painting over that and adding shading and highlighting to give it three D form and depth and, uh, shiny nous and stuff like that. And then we're gonna look at what to do with your backgrounds, either simple or complex backgrounds. And we're gonna look a perspective rulers there and drawing in perspective and then lettering and the balloons that go with it. So had add text to your image and people speaking, thought a speech and and thought balloons. And finally, how to produce the finished product and distributed to share with friends. I've got some additional fund tools to show you, and then we're going to go into the drawing and painting workshops where I demonstrate all of this more fully and finally have a conclusion. So that's the outline of the course is a lot of material to cover, so it's gonna be a long course, but stick with it and you're gonna learn a lot. And there's even more because there was an original course to this that I just threw together quickly and throughout their people didn't like it too much because it didn't have too much detail. But I have included the original course at the end of this one. And here are the sections. Many of the lectures have been replicated in the new 2019 version of this course that you're watching Now. Now, I also want to point out that this course has specific features. So each section has an introduction that tells you what's gonna be in the section similar to this and a conclusion reviewing what was covered. It also has a workshop where I will show you the use of the tool, and I will demonstrate everything that I covered in the section. And then there is section project. So I'm gonna sign work to you or homework that you should submit to the Q and a section of the scores. So do images. Do your illustrations and then upload them is images to the Q and A section to share them and get praise from both me and your fellow students. And that's everything that I've got to say as far as the course. It's gonna be very detailed and quite long, and I think you're gonna learn a lot. So in the next lecture, I'm going to discuss Why do use clips, studio paint? This is gonna be a bit of a sales job, and I'll see you there. 2. Why Use Clip Studio Paint: in this lecture, I'm going to do a little sales pitch entitled Why Use Clips, Studio Paint? And in the lecture I'm going to cover at least here. Six reasons to use clips. Studio paid for your illustrations. Reason number one is that clip Studio paint has all the features. Its competitive with photo shop or or auto sketch or any of the other illustration programs out there, and it's inexpensive. It has perspective rulers air, really cool and three depots, herbal reference models and extensive comic and Mangus support, plus support for multi page comics. If you purchase the clip Studio Pain D X version. Now let's look at each of these features individually. Clip Studio Pan has all the features it contains all the standard features reference layers all of these things that you'll find in every other illustration program. So it's right up there with its competitors. Clip Studio Pant has over four million users, so it's not like nobody's using it or you're taking a chance. You're not settling for a lesser tool if you choose clips, studio paid and clip studio pain is inexpensive. The pro version of clips studio paint regularly costs $49 but you can often find it on sale for us. Little is 29 bucks. That's for Ah, whole professional illustration program in comparison, and Adobe Photoshopped license costs about $19 a month, or ah, $108 a year. That's a lot of money. The E X version, which has some additional features over the pro version of clips studio paint, can be found on sale for his little A $69 now regularly. The E X version is $209 so it's really expensive. That's why I pushed for the pro version. But if you can find it for $69 it's worth the extra $40 to get the added features now. Also note that auto desk sketchbook has recently been made freeze. That's probably one of the best deals that you're gonna find out there, but next after it has got to be $29 for clip Studio paid Pro perspective rulers are an incredible feature of clips, studio pain, and they allow you to draw in 1.2 point and three point perspective. Here, let me give you a look at that. Here we are in clips, studio paint, and I'm going to create a new drawing page for us to draw on. You can't draw until you create a page, and now we could draw on this so I could create a three D box. I'm drawing with my mouse, and this is a little crude like this, but it won't have any perspective. It won't disappear into the distance or Neil anything like that. It'll just be my crude little box with crude little lines. Now check out the use of perspective rulers, though. If I clear this, let's go down and add a perspective ruler. Now what it does is it allows you to pull ah, line. That shows part of the first perspective and then a second line that shows the other part. Now we have a vanishing point here that it's set up for us and two lines that will be followed by the lines that we add to this program. So let's go back in here and let's tone down the size of the brush a little. And now, when I pull lines like this line off into the distance, it follows the perspective line. I don't have to worry about that now. I can also draw at angles at right angles to this perspective line so I can still make the end of the box here. And I pulled this across like that. And now from this corner, I could draw a perspective line off into the distance, and here I can end the box. But these perspective rulers are really with wrong way. These perspective rulers air really handy me. Pull this off so it would actually go there, and we get a three D box in perspective with nice straight lines. Perspective, rules, air. Incredible. And if I use this, I grabbed. This is an object. I can actually move the perspective ruler around. I can change the perspective. I can also add. This is one point perspective. Aiken Do two point perspective. Having things going away in two directions and then add height as three point perspective. Very cool tool. Very useful, and I haven't seen it in any other programs. Next is another favorite feature of mine. That's three D body and hand reference models. Clip studio paint provides thes, and you can either pose the body or you compose the hand and everything is completely pose a bill really easily. Let me demonstrate that to you. Here we are back in clips, studio paint. Let's go ahead and will clear the contents of this layer. And in fact, let's get rid of this layer. There we go and I will draw on this layer. And what you do is you go over to materials. And here are the objects that we can select so we can select a male body or female body. You could even get fully clothed bodies of you want. So we bring in the body and what we can do with it is we can change the outline so we can remove the outline and the highlighting and just have a body. Or we can turn on a light source and have an outline around the body, which I think is really need. Now what we're gonna do is we're gonna configure the body. So this is just a standard body. Now, if I go here to the options, I can go to allocate and Aiken scale the object so I can bring it down so it will actually fit on this screen. Here we go. Now I can also go to the body shape here. I can change its height and notice that the size. I'm sorry. Yes, I can change the height and notice that the height will change But the head won't change. It will stay the same size and I can change the head to body shape ratio here. Now this is cool. I can go to each body part. Here's the waste. And I pulled this left and the waste gets thinner. Notice how the character is very thin and got now or I can pull it to the right and the character gets fatter. I can pull it down and the waste gets shorter. I can pull this little thing up and the waste gets wider so I can completely control the shape of this character. That's not Hall. Check this out. Each of these parts on the character are completely opposable. So I congrats these and move the character and pose them in any position that I want. Let's have him up waving. It's been that arm. Have his hand up. Here we go. Take that And here is kind of stretching. It gets now. If you're not very good at creating poses. Notice this. You can go to poses character posts. What opposes? There we go here, we can go to poses and look at the entire body. Or we could just pose the hand so we can actually get hand gestures and zoom in on the hand if we're just painting hands. But here, let's say the entire body we want, Ah, sprint. I just drag that over to the body and suddenly is in a sprint mode. As far as controlling the camera angle, I can move around and view this from any angle, and I can move in multiple characters. So if I want another person in here, just dragged them in and move them down into the picture. Now I can modify these poses any way that I want after I apply them. And then I can also zoom the camera in and out to get in closer to this character and so on . Here. There we go. Come on, move over. OK, there we go. I got a little bit of lag and my computer so I could move him over into the scene. He's in the background so you can make entire scenes with characters like this and then sketch them. The other thing that I like about clips studio pain is it was originally known as Manga Studio, so it has extensive support for comic and manga. It includes all the manga shading techniques and word balloons, and so on entails. Finally, the Clips Studio Pain D X version provides support for multi page comics. I can work on all the pages of a comic at the same time and export them all at the same time. Let me show you that you're I am back in clips studio paid. And if I come up here and I say create new I noticed that down at the bottom there is a tick box for multiple pages. If I tick that, I can select how many pages I would like in my comic. Let's give this comic four pages that will make it quicker to create. And then I go up here and I say, Yeah, go ahead and create it Now it takes a little while to run. You can see that it's creating the pages now it takes a little while because to create multiple pages and when it's done, I get this new panel that shows me all of the pages in my comic. All I've got to do then is double click on one of the pages, and it opens for me to be able to edit it so I can go from each comic. Let's draw something here I go in. I squiggle on page one. I go to Page two of the comic by double clicking on it, and it opens. And I could squiggle some stuff on that so I can go and edit every page in a multi page comic really handy, especially when it comes to exporting where I can export the entire comic. I don't have to export it a page at a time and then merge them together when I'm done, and that's it. But that's just a few of the cool features and clip studio pain. The rest of them you're gonna learn through the rest of this course. And in the next lecture, we're going to look at how to watch this course. We're gonna look at how toe watch it, fast or slow and how to use bookmarks to mark interesting locations in the course. I'll see you in that lecture 3. Introduction to Tools: hello and welcome to the first substantive section in this course. It's an introduction to the tools both software and hardware that you'll be using in this course and to do your illustrations. We're gonna look at the requirements, selection and installation of these tools. So after this introduction, we're gonna look at the computer requirements and really, you won't need much more than I five, but you will need some memories. So about eight Meg. Next, we'll look at selection of the perfect graphics tablet. And here this is an older lecture where it gives you a look at all of your graphics tablet options and then makes recommendations of the end. In the 2019 addendum. It actually questions whether you need a tablet at all, and then I actually have a different preferred tablet. I went with a 15.6 inch display tablet. It attaches to my computer, and we're gonna look at how to install the tablet nests. We're gonna look at software selection and installation. Should you get clips, studio paint pro or e X. I'm going to promote the pro version cause it's just so darn cheap. And then we're gonna look at its installation. Now the project for this lecture is going to be dig to gather together your drawing environment. So go out and get a computer, optionally get a tablet and get pro because I think you can get because I think you can get clips Studio Pro for about $29 on sale, which is dirt cheap and then in the conclusion will review what we covered in this section . So without further ado, the first lecture in this section is on computer requirements. I'll see you there. 4. Computer Requirements: in this lecture, I'm going to address the minimum computer requirements of clips. Studio paint, these the requirements that you should satisfy if you want the program to run well. And believe me, you don't want lag and hanging when you're trying to draw on a tablet. So first we're gonna look at Windows Systems. You should be the running Windows seven. Wow, that is old eight or 8.1, but more preferably run a modern operating system like Windows 10. Now this is actually a requirement that isn't listed on the clip studio Pained Page. But I'm going to recommend at least an I five and Intel I five based system. Based on my experience. They recommend at least two gigabyte of memory again. Based on my experience, I recommend at least eight and two gigabytes of free disk space. To load the program. You need a graphics card, probably a pretty beefy one with the least 256 megabytes of V RAM, and that supports the open G L standard and a minimum X G a monitor, our 16 bit color display or higher, and they recommend a pen or stylus, which I'm gonna argue is actually optional. If you really want to go the cheap route. Mac OS I know nothing about Max, so I'm just gonna read off the requirements that they list Mac OS 10.9 10.10 or 10.11 running on an Intel core. Two. Dual minimum. Once again, they recommend to Meg Gigabytes of RAM, and I recommend at least eight two gigabytes of free disk space to load the program. And you can read the rest yourself there, the same as for the Windows computer. Now I want to put in with just one warning. I run clips studio paint on a low end surface for tablet the processors and is an Intel M for mobile processor and only has four gigabytes of memory. And what I experience on that tablet is a lot of lag where you're drawing and the lines don't keep up with the pen. Often the system freezes from multiple seconds, and you have to wait for it to come back. You tap on things multiple times and you don't get a response. It's it's quite a frustrating experience, so low and systems just don't work has been my experience quick clip studio paint. You need at least a pretty A minimum pretty beefy system to run it on. Make sure your system has the power required to support a major professional graphics program. And where that said, we're going to be moving on to the next lecture, which is selecting the perfect graphics tablet. I'll see you there. 5. Selecting the Perfect Graphics Tablet: in this lecture. I want to talk about selecting the perfect graphics tablet. And, of course, first we're gonna talk about what is a graphics tablet and why you need it. This is basically a review of your digital options, and I'm going to show my recommended or at least my preferred tablet and the recommended cheap option if you just want to get introduced to graphics tablets. So let's begin by looking at what I'm talking about to go digital and two draw digitally. What you need to do is replace your mouse with a tablet. Now the mouse you're familiar with, you push it around. It's got a couple buttons, but it's very hard to draw that way. I don't know. Have you ever tried using a drawing application and tried drawing? Precisely. A tablet works different. It's a tablet that sits on your desk, and wherever you put a stylist, that's a basically a digital pen is where you'll start drawing. So you push the pen around and it's much more like drawing on a piece of paper. Now there's actually three types of tablets that we're gonna talk about. One is it's just sits off to the side and attaches to your computer, and you look at the computer screen and draw off to the side. The other is one that attaches to your computer screen, but it actually has a screen in it, so you get to see what you're drawing. But you still need a computer, and then the other one has a computer built into it so that you can move completely away from your computer and draw and see what's going on on the screen. I'm sorry to confuse you with all this stuff up front. Let's go slowly through all your options. Now, when you begin talking about tablets, there's one big dominant figure in the market, and that is Wacom. Wacom tablets are very popular, and what they basically do is they stand for two things. Quality and state of the art, the industry standard. And they're expensive because they are so high quality and everybody wants them, they could charge a premium price. Now let's look at the Walkom line here. You can see what a tablet looks like. Now this little thing sits on your desk to the side of the computer, attaches to the computer and everything you drawn, it shows up on the screen. Now. The difference between these two tablets is one on the left thes air, both small. They're entry level tablets, the one on the left you can just drawn with one on the right. You can actually use finger gestures so you can do things like on your iPhone. You can pinch and you can expand. Using your fingers. You can rotate. You can pan all with finger gestures. The one on the left doesn't support finger gestures. Now. I'd recommend that if you get a tablet that you get one with touch and touch means that you get the finger gestures as well. It's a little bit more expensive, but it's well worth it now. The other thing, I want to point out is that this is really my brother's choice. He actually used a larger tablet. He found that he had to move his hand too far. Now, if you use a small one, you could just move your hand and you own after move your whole arm. So he likes the small ones and recommends it, and this, then is the tablet of his choice. Now, the tablet that I have is this one here. It's the medium, and it's much larger. It also supports Bluetooth wireless options. You don't have to have a cable going to your computer. You still don't see what's on the screen on your tablet, and you have to hook it to a computer, and it takes up quite a bit of space, and you could see it's quite a bit more expensive. You're talking about almost $300 for this tablet. As I pointed out, this is my tablet, and if you look at it on my desktop, you could see that really dominate your desktop. And you do have to move your hand quite a bit to traverse the screen rather than just moving your wrist with a smaller tablet. So I might lean towards my brother's suggestion and go with the smaller one rather than doing the medium. Now, if you move up, you get in the line of what you're drawing on is what you see here. The scent ik tablet on the left wa calms higher end tablet and what as you could see, you can see the screen on the tablet. Now it's still connects to your computer and everything is running on your computer is just like and at an auxiliary screen that you can draw on the one on the right. The Ogi is actually a cheaper Chinese tablet that I tried just could not get it to work one of the best benefits of the years that it has got a killer's stand on it. Big, solid. Ah, stand where? As you can see the cheapo stand that Wacom comes out with. I don't know why they have such cheap stands, as opposed to the big iron mass that the U. G put in the background. But as I said, this was a failure for me. I couldn't get it to work. Now other people talk about that. You can get refurbished, sent ekes quite cheap, so you might want to keep your eye out for this. Being able to see what you're drawing on. Where you're drawing is a big plus. I could never get the hang of drawing off to the right and looking at the screen, not looking where I'm drawing. It's very hard to get used to. Now I switching to get used to anything, but I just don't find it a comfortable way to draw Now. If you move up even further, then you get into the locker room mobile studio. This is actually a PC it's built in. You don't have to plug this into a PC, and you have a 16 inch screen that you could drawn, and you can load all of your computer software since its running windows. You can run Windows Computer software on here so your graphics program is actually running on your tablet. Of course, this cost $3000. This is my dream tablet. It's probably everybody's dream tablet, but I'm not willing to pay $3000 to get it. I'm not even willing to pay 1500 career 1st 1 To tell you the truth, no. One of things I wanted to do Finally here is to show you the Walkom line and the price differences and the features that you get. So it was a little confusing seeing them all like that. Here they are all in one place. If you just get a tablet, you have no finger gestures. You do not see what you're drawing on the screen, and you have to have a PC connection and at $73 you move up and you get touch. The U. G. Actually gives you see what you're drawing on, as does the scent Ik thea g being cheaper. But it failed for me and this antique you could possibly get refurbished. The ultimate, then, is the mobile studio. It comes in a 13 and a 16 sides. So you're talking about either 2000 or $3000 to get everything finger gestures, see what you're drawing on the thing and actually have a built in PC with your software running on your tablet. So that's the range of Wacom tablets that we have to work with. Now. Some people have had great success drawing on ipads, and if you look at ipads, they cost about 5 99 So that's considerably cheaper. And that got me thinking I'm not a Mac person. If you are, you might want to try on iPad as a tablet. But for me, I'm a Microsoft person. Ah, PC person. So it comes down to the surface. But the problem is, if you look at the surface line here, you know a new surface I five is almost is is over $1100 if you get a nice seven than your talking about $1300 that's without a keyboard, which costs another $100. So you're into the close to $1500 for a surface, and that's getting a little expensive wine. I buy a wacom refurbished at this point, and then I started searching around the Net, and I found How low end can you go with the surface? First of all, if you go with the surface Pro four, which is now the older generation, they're relatively cheap, and the price is going to drop even mawr as what's known as the news surface. It isn't the surface five. It's the new surface. They haven't come out with the five with six yet is the state of the art and going to be the high price point Now, another thing that you could do is you could move down on the processor size right. We have I threes, I fives and I sevens will have you moved down to the mobile process. The very low end. It has some advantages. It's really cheap, and it doesn't require a fan, so it's absolutely silent and takes less energy, which gives you longer battery life, but it's just fast enough to act as a tablet. I wouldn't use an mobile processor for general purpose PC, but it's great for a tablet. And then if you look at the amount of RAM that you need, it turns out that Windows is very efficient with memory, and that four gigabyte of Ram is actually runs quite well, and you can run multiple graphic programs. You can run photo shop whatever you want to run as your graphics software, right on the surface on the tablet, and you can get a limited amount of disk space, a solid state drive at 128 gigabyte cheap, and it holds the windows, your APS and a few large drawings. And then you can get them off your system, using something like one drive cloud storage and so on and move them off your system. Teoh to free up room. You won't be able to store a lot of graphics on this kind of surface, and it has no keyboard, but the pen is free. So what are we talking about here? The surface pro four, with an end Intel Mobile three processor, four gigs of memory, 128 gig, solid state drive and no keyboard. Here's a picture of it now This has the keyboard pictured, which you don't get. You have to buy for $100 more, so it's a very limited system. But what you do get with it is a 12.3 inch crystal clear screen. The screens on these surface PC's is just beautiful. The pen stylist gives you 1000 levels of pressures. Sensitivity on the Penn. Now wa calms go up to 8000. You could believe it, but I found that 1000 works just fine. You run Windows 10 pro, just like you do on your desktop, and you get 10 hours of battery life so you can wander away from your desk top. You don't have to plug it into your computer. You have a portable tablet to do your art anywhere, go places and draw things. Using the surface probe and on E bay, I found the low in surface pro for 4 99 free shipping and no tax, so it was under $500 to get my tablet. Now think about it. That's just $110 more than my Wacom tablet, which has to be connected to a computer. And you can't see on the screen what you're drawing now, after painting such a rosy picture, I want you to remember this that this tablet provides just enough power to perform really well as a drawing tablet. But not as a general purpose computer. The low end processor, the lack of memory, the Alaska dis space, all of these things. They're going to slow it down for doing general purpose computing. So you're just buying the surface as a tablet. Now, do you need a tablet? Well, to draw simple shapes like lines and so on and squares. No, you don't. But to draw Freehand yes, you do. And we're gonna be drawing Freehand in this course. So here's what I recommend is a starter tablet. If you don't have a lot of money to spend and you're not quite sure if you really want to do this Digital art, they just go get a starter tablet. Now you're gonna be drawing off to the sky outside and looking at the screen, and it's gonna be attached to a computer, make sure that you get the small that's gonna be inexpensive and that it's got the touch features that you can use hand features. And, of course, my preferred tablet is the Microsoft Surface Pro low end. So go low end on it, and it will perform beautifully as a drawing tablet. Up. Next, we're gonna look a selecting drawing and painting graphics software. What, You're going to run using your tablet? I'll see you there. 6. 2019 Addendum: Tablet Requirements, Selection and Installation: So the previous lecture gave a good overview of your tablet options and then came down to a recommendation, which was my dream tablet. Now, since then, I've had a little bit more experience, and I've seen some things, and I wanted to amend that recommendation. So years some of the information from my learning experience two things that I discovered by drawing on my Microsoft Surface Pro four, My little portable drawing tat display tablet. I discovered that I don't like drawing in a tablet that doesn't have a display on it. I just cannot get the hang of drawing on my Wacom tablet where I draw it to the side and I look at the screen that just doesn't make it for me. I'm sure that you can get used to it. I got used to it kind of, but it just never really wowed me. The other thing that I discovered by drawing on my low end mobile processor based Surface Pro is that I discovered it was too underpowered to support a big, beefy program like clips studio paint, which produced a lot of drawing lag. So based on those two experiences, I went out searching once again for a drawing tablet, and I found what is now my current dream drawing tablet. This is a display tablet that hooks to my desktop computer. It's got a 15.6 inch display. That's the other thing I discovered about my surface pro is that the tenants display. It was kind of small because clip studio paint takes up areas to display menus and panels and windows. I ended up with, like, a little six inch square area to draw in, and that was just too small. This is 15.6 inches. Once again it hooks to my desktop computer, so it's not portable, but it's got a really high resolution, beautiful screen and a non battery stylist. My battery ran out, by the way, on my stylist for my surface probe. When I was out drawing Mobile, Lee and I had toe Go and try and search for a quadruple a battery to replace it. This is a batter Lee List battery free stylists with 8000 levels of pressure sensitivity. Make sure that you get pressure sensitivity, by the way, in your style in your tablets election. If you do that, then you can press down harder to make thicker lines and release it a little to make thinner, lighter lines. So that's really handy now. One of the things that's missing on this tablet that I got very used to on my surface pro was the touch gestures. They aren't on this, so I can't. So I can't widen my fingers and pinch them to zoom in and use a finger to zoom around. I've got to use other mechanisms now. I do have the keyboard available here if I want to use it. I didn't have a keyboard for my surface pro, so I'll be able Teoh so actually have to start getting used to keyboard shortcuts to move around the screen. Now this tablet is a little bit expensive. It's $359. Now consider I paid $399 from my walk home. That doesn't have a display in it. Now check this out to an Amazon. I bought it on a flash sale of 22% off, and then I use some of my Amazon credit card reward points, and I got it down to $245. I just couldn't say no. Now, here, Even now, the tablet is being displayed. If you check this little box, you end up getting an additional 15% off. So we're talking about maybe just a little over $300 for a 15 inch drawing tablet that has a display in it. This is really the ultimate drawing environment. I really like it a lot and recommend that you check it out. So that's my addendum to the tablets selection lecture that you just finished brings you up to date now to where I am and it's what you're going to be seeing in this lecture is the results of me drawing on this tablet. The other thing I want to mention before I let you go is that the drawing methods that I show you in this class? I've got some easy drawing method. So if you're not ah, great drawer, I've got some alternatives that will give you some fantastic lines so you don't necessarily need a tablet. That's right. That means that for $29 you can get a copy of pro clip Studio Pro on sale and then skipped the tablet and you're just in for $29. In fact, get get a free preview and you're not spending any money at all to try out this course. And you might want to try just using a mouse using he methods that I outlined later in this course, I do recommend that you get a tablet, and if you get when I really like this one, so maybe you want to save up to and here's a mouse in the meantime toe. Learn this course and the program and how to use the program and see if you really like it before investing and up next, we're going to be covering software selection between the clip, studio paint, pro Andy X version and installation. I'll see you there. 7. Software Selection and Installation: in this lecture, we're going to look at software selection and installation. Now this is selection of clips, studio paint, which comes in both a pro and an E X version. And then we're gonna look at installation, which is just a standard installation. I don't even know why can't you? I don't show you the entire one. So let's begin with what this lecture is going to cover. It's gonna be talk about acquiring a version of clips, studio paint and getting the best deal on it, installing clip studio paint and then for Windows 10 users. It's gonna talk about how toe ad clip studio paint. Two. Your task bar for easy startup. So let's begin with the first topic, which is acquiring a version of clips studio paint on getting your best deal. Now clip Studio pain comes in two versions. Pro Andy Ex. It turns out that Pro provides most of the X features. There's a few here and there that I really don't even use that are left out. Maybe a handful. But there is one big feature. E X supports editing and producing multi page comic books. So the only reason really to get E X is if you plan toe work on multi page comic books. If you don't, then pro will do just fine now, as far as the costs there significant for the X version clip Studio paint Pro normally costs $49 clips trio pain. E X normally runs to 19. That's really expensive, prohibitively expensive, in my opinion. So don't get the X version for 2 19 That's too much money, because when they're on sale, the pro version goes down to $29. What a sweet deal. And better yet, the E X version becomes $69. Now the ability to do the multi page comic books is that worth What was it on the last page ? Is that worth an additional $170? No, it's not. But is it worth an additional $40? Yeah, I think it is. It's nice to be able to work on multi page books and export them and bind them all together and stuff like that work on him at the same time. Now the other thing I want to point out is better yet than any of those options. There is a 30 day free trial version of clips studio paint, and you can choose either pro or E X and run a full featured version. If you register your copy of clips. Studio Pain with Cells is so. This is what I recommend if available, and you like the multi page comic feature. Then get clip studio Pain E X for $69 if available, and the previous one isn't I would get pro for $29. What a steel. Otherwise, I would get the free 30 day trial version and wait for one of the two sales above to occur . They'll probably send you a sale thing or a significant discount before your trial runs out . I don't know. I've never run the trial version before. With that said, let's move on to the next topic, which is installing clips, studio pain. Now this is a standard Windows installing. I'm sure it's the same on Mac OS, but I'm gonna give you a few pointers first. Out of fine clip studio pain. Easiest ways. You just type clips, studio pain into Google, and you'll find that it's at clip studio pain dot net slash e en for English and you can go to buy now and downloads from here. I click on the main window, and up it comes and you can see there's free trial stuff all over the place. And what we're going to talk about is the installation of the free trial. You can also do a by now if you're ready to buy but don't buy. Notice the prices down here $49 in 2 19 Don't buy at those prices. That's too expensive. So get the free trial and here you go to the When you click on free trial, you go to the download page. It has big download buttons for either Mac OS or the Windows version. Or actually, there's actually a high pad version now, which you pay for by the month, and you could get six months free by choosing to download the app that app. Now, if you scroll down the page a little bit, you're gonna find that there are instructions for how to run the installer from Chrome or from Internet Explorer. There's stuff about how to find and start clips, studio paint. And then there's pointers to a bunch of resource. Is that our Andy so be sure that he continued to scroll down this page, as you do to the download, and that's installation want you. The installation starts here. You're prompted to open the download file, and once you do that, then the installation starts. You just answer the questions. I go with the defaults on the stuff that's variable and just do a default installation with my information in there. So and once again you are. You get the full featured version of the trial. If you sign up for a free clips studio paint account on their site so they get your information, they'll be able to send you email and stuff. Ah, small price to pay for a 30 day trial. Next, I want to talk about adding clips studio paint to your Windows 10 toolbar. So this is on Lee or task bar. This is only for my Windows students out there, and what you dio is you go to on your screen to the lower left hand corner and you're gonna find the window button. So click on the window button and up comes the windows menu, and all you do is you start typing at it. This kind of indeed feature of you looking for something rather than scrolling through this big list. Just start typing what you're looking for. And suddenly up will come the search version of that bar and by type and clip, I get clips. Studio I don't get clip studio pain, which is interesting. So what I do is I click on clips studio and I start that now. Clips studio is kind of a little rapper that allows you to fire up something called a modeler. I didn't even know what that is. There's access to a bunch of services and documentation. There's tutorials here. So this is all interesting stuff. Be sure that you browse this and then it gives you the ability to run paint. So up in the upper left hand corner of the screen, I would click on paint, and that will bring up clip studio pay. Now, this is not a very fun way to start. Clip studio pain, right? Go to your menus. Search for eclipse studio run clip, studio run clips Teoh paid. So what I'm gonna do is I'm gonna show you how to add this program to the task bar directly . What you got get is you get this little icon for the program. Once it's running down here, that is the clip studio paint icon. It almost looks like a question mark. Now, if I right click on that up will come. The context many for that little button, and one of the options on there is pinned to task bar. I want you to click on that, and from that point on, the tool will be available on your task bar, as you see here, along with all your other tools and you just click on it and it starts. So it's really easy to start. It started this way. If you're a Windows user and with that said, the next lecture is going to be the conclusion to this tool section, I'll see you there. 8. Conclusion to Tools: Well, that was it. The section on tools. I hope you found it informative and that you've gotten your environment together. We discussed your computer requirements and just about any computer will dio. We talked about selecting the perfect graphics tablet, which actually showed you a whole bunch of graphics tablet options. And then I put in an IDENT into that which questioned whether you need a tablet at all, talked about my new favorite tablet and talked about installation. Next, we looked at software selection where I promoted clips studio paint pro over E X. Because E x is so expensive now, have you get E X on sale? It can come down to about $69 then I'd get it and we looked at installation. And then and in your tools and in the tool section project. I encourage you to grab her, gather your drawing environment, go out and get a computer on optional tablet and the software. And here we are in the conclusion. So in the next section, we're gonna talk about setting up your software, getting it toe look and act the way that you wanted to. I'll see you there 9. Introduction to Setup: in this section, we're going to look at setting up and configuring your drawing and painting environment that includes both hardware and software. So after this introduction, we're going to look at software screen set up. We're gonna dark in your screen and then configure any buttons wherever you want. Actually, what we're gonna do is we're gonna configure your software set up to look exactly like mine , which is the original default, Uh, when window layout for a clip, studio paint. Then we're gonna look at setting up your tablet toe work with clips, studio paint. In reality, it really me and setting up the tablet toe work with Windows or a Mac OS of your using that . But we'll set up certain buttons and so on to work with clips, studio paint. And then there might be some software performance tuning that you've got to do. Clip studio pain. Turns out that it's a pretty resource intensive program, but there's some things that you can do to tune it down and to get it running. If you encountering lag. And finally, for the set up project, I'm gonna have you configure your work environment So used these three lectures that I go over to set yourself up with the perfect with Set yourself up with the perfect drawing environment, and then we're going to conclude with a review of what you learned in this section. So that's it. Without further ado, the first lecture in this section is the software screen set up. I'll see you there. 10. Software Screen Setup: in this lecture, we're going to look at how to configure the clips studio pants screen so that your screen looks like mine were also going to turn it from bright to dark so it doesn't burn your eyes out. Let's get started. So what I'm gonna do is I'm gonna start up clip studio paint and show you what it looks like by default. And then I'm gonna make some suggestions, and you can already see that it's very bright now. This is the default layout for all of the tabs and screens that I used to or that I cut my teeth with. And it's what I use. And it's what I'm going to demonstrate in this course. The problem is that you can take any of these tabs and you can drag them around and connect them in other areas. So if you don't like it there and let's say you want this tab to be over here, you can do that. And suddenly your screen let's say we drag this one down here. Suddenly your screen starts looking completely different from mine. Now, go ahead and do this when you're done with the course and you have certain buttons that you want to be in certain places. You can also come up here to a window and and these are all the windows that that's what these air known as that you can actually add on Lee the checked ones. They're being shown right now so you can uncheck them if you don't want to see certain ones . The other thing that you can do on workspace that unfortunately doesn't work right is reset to default. Now, you would think this would be your default set up that you came in with, but it's a weird default. It's not the one that I learned on and what used to be the default. I don't know what happened. I must have upgraded and changed the default. But I went back and reconstructed my default and saved it as a work space notice. Here you can goto work space, and I currently have workspace loaded. Actually, it's just been corrupted, So I'm gonna reload the file workspace and what I want from it is all these things and I say yes and I'm back to the devote last. So in the next lecture, I'm gonna show you how to get a copy of my workspace screen layout from the Resource is of the next chorus and loaded into clips. Studio pants of you will be able to load the workspace and get exactly my screen lad. The other thing that I wanted to point out to you is that is this brightness issue didn't address that is that I can come down here and edit preferences. Now there's all kinds of preferences here. Different information comes up here. Depending on the tab, you could set the kind of curse that you using. I've got optimized cursors for performance. Right now. I can also go to interface, and here I can set the light or dark interface. I recommend the dark interface, and here I can define how dark it is. And I like the very darkest. So set that and say Okay, and then we'll be looking the same. That was it. How to configure your clips, studio paint, screen and next, I'm going to give you my screen layout definition file and show you how to load. It's that we look the same. I'll see in that lecture 11. Manually Recreating My Screen Layout: so people have already reported problems loading my default screen configuration layout file, especially Mac users where these files not compatible with Windows file. So I decided to create a way to make the screen loud, that current default toe my default, how to do it manually. So that's what we're going to cover in this lecture. So to set the screen, what I've got is I've got the screen the way that I wanted to look now, and I've taken a snapshot of that so that I've got an image to look too and refer to, and I'm going to go and manually recreate that screen from the default. So let's go to window workspace and reset to default. And yes, I would like to do that. And here is the default. Now here's what we need to dio we need Ah, we said, we don't need that at all. So let's go to do these one at a time. We'll go windows, okay, and the first thing that I need is the upper right. I need the navigator windows. Let's do navigator. There we go. And now when that's minimized, I see the navigator window here. Let's see What's next? Next I need information. And then Ah, what is the And what is this? 3rd 1 So let's see. We can get information, intermediates, information, and I believe the next one is the item bank. So let's get window item bank. Here we go. You see God here. I don't have the item Bank there. I've got what looks like. Look, history. Yeah, it's history. There we go. So now what I need is I need history in here, so I grab it and I drag it up until this is highlighted. Now we've got it on this tab, and I've got this on this tab to now let's get this in the right order. I want this tab to be on the very top. So I drag it up there and then I want navigator to maybe be around that long. Information is good, and let's drag up history. So that makes the first tab in the upper right here. Hell, let's look and see what the next tab is. The next tab is the layers and the layer properties on top of that. So let's go get that. Here it is over here. So I'm going to drag that, and I'm gonna put it down below these on the side, like right there. Here we go. Now, I believe that the final thing that I need on this side, Okay? There are two. Um, there's something. And there's materials. I don't know what that something is. We'll see what we can find it. It's come appeared a window. And I need materials. Okay. Give me materials character, then and we will bring this over to the very bottom. And there we go. So now we've got the navigator, the information and the history here in the first tab and we've got What is that? That's something we don't need. That was item Bank. I don't need item bank. And then we have the layer properties and layers and that we have materials. That should be fine for this side. Now, for the other side. We don't need this thing. Whatever that is. What is that quick access case. Let's go here. And where is quick access? We go. We don't need quick access. So that's gone. Um, that's fine. Here. What I need is, I need this not on that tab, but suit. We couldn't get it. We'll drag it down here. No, this tab right here. We need, like, right in there. Here we go. So it's actually drag that down here. Get that down here and then we'll come Teoh our layout again and see how close we are. Yeah. Okay, so we've got the pen and the pen options. We've got the pen size, and then we've got color. I don't see, uh, pen, pen, size and color. So that's it. We've set up the default screen layout, so I hope you noticed how that works, Dragging things around. If I want this position on the other side, I grab those, um, the tabs for that and I pull it over if I want. I minimize this and I can get the tabs again. And then I can drag them back over here where this supposed to be? And if I want a tab in a tab than I drag it up until the tab is highlighted like this and it will bake it part of the tab. I'm perfectly happy with where this is now. The final thing we want to dio is you want to say fine, Say it. Windows workspace and register workspace, and then we want to give it a name. So here I'm giving the name workspace to. So now when I come upto windows workspace, I'm gonna have workspace to that I can load in addition to my default workspace. So here is my default workspace, and that's pretty much it. So that's it. We should now have the same screen layouts coming up. Next is tablets set up with clips, studio pain, including buttons and finger gestures. I'll see you there. 12. Tablet Setup with Clip Studio Paint Including Buttons and Finger Gestures: in this lecture, we're going to talk about setting up your tablet to work with clips studio paid. This includes setting up the buttons and finger gestures and all of those things. The first thing I want to point out is to get your tablet working with clips. Studio paint just really means getting it to work with your operating system. If you get to work with your operating system, it's gonna work with clips. Studio pay it typically, and these are the steps that you go through To do that. You plug the tablet in and it could have several cable configurations. You go to the vendor and you install the drivers, and then you configure your tablet to set up the buttons and the pen and pen pressure and all of that stuff. Basically, you just follow the instructions in the tablet guide. It's going to tell you how to do all this and give you examples now plugging in the cable. If you use a non display tablet like a wacom, just drawing on it to the side tablet, you typically just have a USB cable connected to your computer. Now, if you have a display tablet like I've got. Then you might have a more complicated cable set up multiple cables. And in fact, my tablet that I'm using right now has an interesting three in one cable it where it has one cable that hooks into the tablet. That's the small USB connector, and then it has a USB that connects into the computer. That's the other standard USB, the big black connector that has three cables going into it is an H. D. M I connector that goes into your computer, and then the red cable is a power cable. If you need it toe, add extra power to your tablet, and you plug that into an A C adapter into the wall so the cable might be simple or it might be challenging. The next thing you do is you install the drivers, so go to the vendor and install the latest drivers. This is important. Have your driver's up two dates that you don't run into bugs or lags and stuff with your tablet. And then the final thing you do is you go and you could figure tablet. Here. I'm showing you a couple configuration screens from my XP pen configuration software. Wacom has their own configuration, and you can see that in this the main screen you can calibrate your tablet. You can set up the display settings and how things were gonna look. And then you can configure express keys, and I showed that down here, over to the right, where you can actually set up. I've got six express keys on the side of my tablet, and I can set up the control sequence that each one of those said resistance. I have control Z here. That's Ah, undo. And then I have of control plus plus and control minus, which is designed. Zoom in and out. So you can you set up your buttons to do just about anything that you want it. Once you find the key sequence that does it in your software, and that's setting up your tablet up next is going to be the lecture on software performance tuning if it's needed and I'll see you there 13. Software Performance Tuning: in this lecture, we're going to talk about clips, studio paint, software, performance tuning or my experience tuning clips Studio paid. Now it turns out that I have experienced clip studio pain performance problems in the form of Penn Lag on multiple platforms. As a result, I went out and searched the Web and did my own experimentation and found a list of performance tuning things that you can do there more and more kind of annoying. So I would do them in this order that I'm going to show them to you. And they will eventually tune your clip studio paint software to run on just about any platform. So here's the steps that I recommend you do to improve the performance of clips Studio paid . First of all, shut down all programs that are running on your system except clips, studio pain. In fact, I found that I was running Power Point and a browser and ah, text editor and all kinds of things Can Tasia record and the Camp Tasia video editor all the same time, and they produced lag in clips studio paid. Once I shut down all these programs, I got much better performance. I even went to the point of looking at the programs that were running in the background on my system and shutting down a couple of those. Next, I'm running a tool called carbonite that backs up my system on the cloud, and it was doing it during the day. Once I told it, Don't back up files during the day, only back up from between 11 o'clock at night and seven in the morning that my performance improved dramatically on clip studio paid. So you don't want backups going on, and you should periodically reboot your computer just to clean up all the craft. All the ah Anno reclaimed memory spaces and stuff like that. Anything that's still running in the computer and taking up a CPU, just get all the craft out and get a clean computer going. Just do this periodically every few days. I would run my computer for multiple weeks without rebooting, and that, once again would slow it down. Now these next three options are part of the file preferences menu. So go up to file and then preferences. And then there's various tabs that you can set things, so set your tablet service toe wind tab. Apparently, this performs better than the tablet driver and set the amount of resource is their allocated to the application to no more than 70%. That way it won't hog up. Clip studio paint won't hog up. All the resource is on the system, and you can run other things like Camped Asiad record. The screen finally turned down the stabilization in the anti alias ing on your lines. This takes up CPU resource is to know your lines won't be quite as smooth, but you just need to learn to draw better to get some of the alliance, I guess, and finally changed the shape of all your cursors and dots. I found that this dramatically improved my performance. It's a really annoying feature, and hopefully you won't have to go there. I found that actually performing all of the other tuning options above, I was able to back out of this performance tuning option and get my curses looking normal. Now, what this controls is whether you're just going to get a little dot or you're gonna get a cursor that shows you the size of the brush on the screen while you're painting. So the 1st 3 here are pretty obvious. Shut down all the programs, don't have backups running and periodically reboot your computer. The other ones tuning clips. Studio paint may not be as obvious. So I'm going to show you this screens. Once again, you're gonna goto file preferences and then on the tablet tab on the Preferences Dialog box , you're going to set using table service toe wind tab rather than tablet PC and set coordinate detection mode to unchecked. So uncheck the box on that use mouse mode and setting of table driver that will improve your performance, then go to file preferences. Performance just moved down to the next tab on this dialog window and make sure the you allocate no more than 70% of the system resource is to clip studio paid. Next, go to the cursor tab and set the shape of the cursor for all of your curses to dot. Now this is the painful one. Most of the time, you get there set to brush and you get to see the brush size of your cursor. This will just set it to a dot and that's much easier to draw and to move around the screen for clip studio paint and you'll get a great performance improvement out of that finally, on the main screen when you go to your pen tool down on the tool properties. In fact, this is true of Penn. Paint all of the drawing tools set the anti alias ing low. You can see that mine is set to the second setting. I used to have it up on four to get lots of anti Alias E and Set Your Stabilization Low is Well, my stabilization once again was very high. Now it's up on the second box rather than the fifth. Now, if you do all of these, you're gonna be tuning clips, studio pain to the best, and it's gonna run as well as it does once again started the beginning and go through these from the top. They get more painful as you go down as faras losing features and clips, studio paint, and hopefully you won't have to do that last one setting the shape of your cursor to a diet , and I don't like that one at all. Now, of course, of clips, studio pain is running fine, for you won't have to do any of these. I do recommend that you do the 1st 3 though, to keep your system clean. And with that said up next is the section project to configure your work environment. I'll see you there. 14. Conclusion to Setup: Well, that was it. The section on software and hardware set up we covered setting up your clip studio paint software screen how to set up your tablet and get that working with clips, studio paint, the way you want. Software performance tweaks that you can apply if needed. And I encourage you to do the project to configure environment and get ready to follow along with the rest of lectures. And now we're in the conclusion of set up and and in the next section we're going to discuss clip studio paint fundamentals, and that's about all you need to know to start drawing. So it's gonna be exciting. I'll see you there. 15. Introduction to Clip Studio Paint Fundamentals: Hello and welcome to the section that's going to cover clips, studio paint fundamentals in this section, we're going to learn just enough about clip studio paint to get you drawing. That's the whole point of this course is to get you drawing as quickly as possible. So we're gonna look at how to start clips, studio pain. Now I'm gonna actually show you how to configure the program in Windows 10 to start easier and faster. Then we're gonna look at the screen layout of clips dio pain because it's rather intimidating and play with the configuration a little bit. Then we're going to hit the essential functions of creating a new project, saving it, opening an existing project, closing one, exporting your work and quitting the fundamentals of clips, studio paint and then simply drawing using a digital pen. So we're not going to use any computer assists or anything like that. We're just gonna move you into the digital world, so it's gonna work an awful lot like drawing on paper, except it's gonna feel completely different and really throw you for a loop. Next, we're gonna look at using the eraser to undo lines and to use, undo and clearing a layer toe, actually, rapidly unto your work. Then we're gonna have a workshop. This is actually the first workshop in this course in which I'm going to demonstrate all of these techniques for you. Then I'm going to have you do it. Go out and draw something for the section project. And then we'll have a conclusion where we review all of this material at the end. And that's it. So, without further ado, the first lecture in this section is starting clipped studio paid. I'll see you there. 16. Starting Clip Studio Paint: in this lecture. I want to talk with you about starting clip studio pain. Now, this is Windows specific. I'm going to show you how I set it up on my PC to start. So here we are on my desktop. And what I want to talk with you about is and you can see down here on my task bar all four of the Smith and Pine Crow graphics tools. There's clip studio paint, followed by motion artist, followed by Mojo. And finally poser, their three d animation tool. I've got them all, and I've got the premium licenses for them. Now, the question is, how did I get paint studio down here and so convenient? Tow launch. You click on the windows start button and notice that click studio paint is not here. Now, I could search for it down in here, but then I need to know what folder it's in and so on. This is the easy way to find a program. Just open the start menu and type what you're looking for. So we're looking for clips, studio pain notice. I only have to type clip. I don't have to get that far into it. and it shows me the program. Now if I double click on the program here, it's going to start it. But that's not specifically what we're trying to do here. We want to start it over and over again in an easier fashion. So what you do is you right? Click on the program name and notice here we've got well, actually, it says UNP in from Task Bar, because I've already got it pinned. If I click on this, it's gonna say pin to task bar typically, And what that will do is produce this icon down here on my task bar, which allows Meteo Wick launch clips, studio pain. So once again, that's the way to do it. Click on the START menu type. Apparently Clip is enough, then right click on the program name and say, pin to task partner. You can also pin it to the start menu. I don't find the start menu to be. Azizi is the task bar that goes across the bottom of all my pages. So pennant to the task bar, and then now if I want to start clip studio pain now, it's actually already running, and it's showing me that down here that it's already got a program running. But if I typically wanted to start clips, studio pain, I would just click on that icon and up it would come. And there you go a quick little way to start clips, studio paint quickly on Windows 10 up next, when to talk about the screen layout of clips, studio paint and a little configuration stuff that you might want to do to make it a little easier to use and actually would have show you to. If you go nuts and configuring your screen interface, how to reset it to the default so it looks like mine, and I'm gonna run the default, so I'll see you in that lecture. 17. Screen Layout and Configuration: in this lecture. I want to talk with you about the screen layout of clips, studio paint and some minor configuration issues with it that you might want to confront up front. So this is basically how to mess around with your screen layout and then revert it to minds that you could follow along. It's very important that during this, of course, our screens match afterwards, you can configure it to your liking, but try to get them to match for now. So let's go ahead and take a look at Clips Studio pan. Here I am, and I'm gonna click on my task bar to bring it up and look at this. I mean, is there, um, or intimidating screen that you can think of? This is really nasty. Let's start cleaning this up first up at the top. It tells you what you have open and some statistics about it, and so on. And then here's the standard friendly ah, windows kind of menus here to do various things, so we're familiar with that. Under here are some quick access buttons that you can get Teoh, and then if you click over here, we can minimize these buttons. Now let's take a look at what's going on in the left. There's a whole bunch of movement and object manipulation buttons here that you can pick like pick and object moving around. Select some stuff. Here's picking colors from the screen. Here's zooming and all that stuff. So that's all up here. Here comes your actual tools that we're about to talk about in the next lecture and how to set him up. So your pan, your racer, your paint, brush your spray brush, how to lay down decorations. Wait a second. That's the eraser. What is? Oh, this is your pencil. It's got the pastel on and had to do blends and just the tools. Go on and on. Down to here is your ruler. So all of this stuff, this drawing stuff is over on left, and here's your colors. You have a foreground, a background color. Right now we have the foreground selected, which is blue. I could select the background, which is red, and use that, and I can even select no color at all. They're transparent and paint that on two things. So that's a quick access way. Two colors and in fact, If I double click on this, I can change my foreground color and keep on going. So that's all the stuff on the left is kind of all your painting stuff this over here Once again, we can collapse it and told us Ah, this is a much simpler screen. Now, if we bring this up, then here's stuff about Here's my history and navigating around this I love is our layers and we're gonna talk about that and how to apply layer aspects. This is resource is that we can bring in as three D reference models and we're gonna talk about that too. So all of this stuff is over on the right side. You're drawing stuff is all over on the left. Now when I click something a tool, let's say a pen here. So I've got the pen. I noticed this right next to it, this kind of a sub menu. And if I click on this, it expands out and it Lex meet, click the type of pen that I want in the configuration options for it. Here's the various sizes of the Nibs and so on. And then here's colors down here and I can collapse this at any time by clicking once again on whatever tab I have open. So if I have this, open the pen, just click on the pen again and it collapses. That's the layout of the screen. One more area that significant is that I can have multiple files open and they're listed here now the files with the little asterisks after them, you might just barely be able to see that our files that have been modified. But I conjunctivitis any of these files that I've been working on and start working on them again, and that's basically the screen Lee out. Now what I want to point out to you is that you can manipulate the screen layout. So let's say we have this layout and I decide that I don't like my sub pen and stuff over there. I'd rather have it here. So now I have history on the right notice. These little tabs bring up little sub menus, and I now have my sub pen grabber here. But I have my pen properties over on the right, so maybe I'd want them over here down below. I just replace them. I think I swap them. So my point is that you can really go nuts reconfiguring the interface. Now I'm gonna run the standard default interface that I'd like you to run that with me while we do this course. If you want to play with moving things around, do that all you'd like on the user interface. And then when you're done, come to window workspace and reset to default. And that will bring your entire interface of you say yes, back to the default configuration so we can all agree. Layout of the clips, studio paint screens. Now, the one modification that I made that I really encourage you to make is to goto file preferences and I'm preferences. You'll have a menu here on the left. You can set up tablet preferences. What? You'd like your curses to be all kinds of stuff, But we're interested Interface. And here you have a color or the theme combination for your interface. Now I can pick a dark color. I can pick a light color so I go light. This is the default. This is what you're seeing. I find it a little I a braiding. So the first thing you want to do is to sent dark color and to change your density as faras the darkness all the way down make it as dark as you can. So that's the one modification we're gonna make from the default is gonna have a dark screen and once again, to find that is on file preferences and pick interface and then go to the dark color and adjust it all the way down. And the other one, what was that window workspace reset to default. If you do, those two things were gonna be some pot ACOs for us doing the rest of this course. So that's it for now for configuring your screen. You can drag things anywhere you want after you're done with this course. For now, we're going to be in sync and I'll see you in the next lecture where we're going to talk about the basic file operations that any program does. And that's new. Save open, close export and quit. I'll see you there 18. New, Save, Open, Close, Export and Quit: in this lecture, we're going to cover the basic file operations than most graphics programs implement, including news, save open, close export and quit. Now, if you're familiar with any other craft X program, you probably already know these, but I want to make sure you know them in clips, studio pain. So we're gonna begin by going to my desktop and here we're going to start clip studio paint and up it comes and will make it full screen. This is the basic layout of this screen that you initially get. And what I want to talk about is how to start drawing and creating files and so on. Now we can't draw right now. If I grab the pen and I come over here, I don't see any drawing. And I can't draw nothing. No drawing is happening here. What do you got to do is you got to create a new file to draw in so we to come appear to file and the first option is new. Noticed that the accelerator key be have a keyboard, is control and to get to this and we click on that and up comes several options. It's already getting confusing, isn't it? For how to open a file? The initial presentation here is the is just an illustration. The next that you have is a comic book and so on and on, down down to animation. Now, if you pick a comic book or show all comics headings actually will get you all of them, you could start pick configuring your illustration for creating comics. Now, we're not quite ready to create comics yet. So what I find is the easiest is to come here to the first thing illustration. Look at how simple this is and it allows you to name the file. If you don't name it, it'll just come Oppa's new canvas and then you'll have to name it before you save. And then the other thing that I could do is I could come here and I can pull down. What size would I like? Now what I like is a horizontal postcard. This seems to fill the area and it will get us drawing. So if I click on that, I'll get these dimensions a with of 1 48 notice. This is measured in millimeters, and we can change that over two inches for instance, so it's gonna be 5.83 inches by 3.94 inches. The resolution. This is very good, actually. For print, you have to go up to 300 for screen resolution is 7200. So 3 50 is quite nice, and we're gonna be using color we can set here whether we wants grayscale or monochrome the paper color. Now we can set that here, or we can wait until we get into the program. And I think that's what we'll dio here. You can select templates. So if you're doing comics, you can actually have your frames for each cell in your comic arranged. And that's about it for creating an illustration. So quite simple. Now, later when it talk about some of the complexities of setting up for comics and so on. But for right now, I just want to get you drawing. So go ahead and pick a new canvas. And there you go. Now you're drawing now one of the things that will keep you from drawing. See, I can draw here. One of the things that will keep you from drawing is being on the wrong layer. We're not talking about layers yet, but I want to talk about them anyway because they can get you into trouble if you know nothing about them. If I go over here to the right, this is the layers panel and it opens up and it shows me the layers that I have here. Now one is paper, and if I come over and select paper and try to draw notice, I get the nose symbol I can't draw on paper. What I've got to do is have what's known as a raster layer. So if you don't have a raster layer, you can go ahead and create new raster layer here and start drawing on it. Now we have one, and by setting up your initial page, you will have one. But if you mess up your raster layer, get onto the paper layer by mistake. If you see this, no simple show up basically, then make sure you have a raster layer. Either create one or click over onto it, and that's in the layers area. It's got this check mark up on top, which is your layer properties. And on the bottom, it has the stack of layers which is the layers symbol. Now we can make that go away just by clicking on it again, so you probably won't need to do that. But if for some reason you're not drawing at some point, you get that No simple, it's probably because you're not on a raster layers. Create one now, at this point, we can draw and so on. Now notice up at the very top. It shows me that this is a thing called new canvas, because we didn't give it a name and it has an asterisk. That means that it has modifications that are unsaved. So let's look at saving this right up front. If I go to file, I'll notice that I have save. Now there's two options here. Save, as is usually what you do at first because you want to give it a name and then just save. If we click on it and it's the first save, it will actually go. I'm gonna make you do a save as anyway now, as far as organizing your directories, I like being on this PC in my pictures directory and then selecting a new directory. So here you can make a new folder four. Storing My Clip Studio Pain files. Notice the clip Studio Pan Files Air saved as dot C L I. P or clip files. And here it has the name New Canvas. At this point, I could go and rename it and let's see. This looks like infinity. So we'll name it Infinity and go ahead and save it. It takes a little while the hourglass is there, and eventually there we go. Now the files called Infinity we see appear, and there's no asterisk after it, which means that we have no modifications. Now I make more modifications. Draw another squiggly line notice my asterisk is back now. The other cool thing that I can do with clips Studio paid is that I can open existing files that I say that Aaron clips studio pain format. So let's goto file open now. I can also pick my most recent files here by going to recent, and it shows me the files that I've been most recently working with. That's pretty handy. I'm just gonna say open and it will open this directory of you again and let's go ahead. Let's open my little girl. Now we have two clips, studio paint files open and notice. We got a new bar here. This lists the files that we have open. So I have to files open and I can click on either one of them and go back and forth. This one has the asterisk on it, which means I have unmodified or unsaved modifications, and this one has none. But if I come in here and I start drawing on it, there goes my Astra's. So I gotta draw. I've got to save it. I'm going to do an undue here on my drawing. There we go and get rid of hand modification. And let's continue to move on through things. Now here, let's go back to her. Let's go back to our original drawing. Let's see, the other thing that we can do is we can close now. This has unsaved modifications. Notice. If I close, it's going to ask me, Would you like to save this? And I could say Either don't save it or Yes, let's go ahead and save it and it takes a little while to save his clip studio pain, and there we go. Now I can go and I could file. Open or control. Oh, to get to this and reopen my envisage infinity scribble and notice. Now I get the little tab for its I can go back and forth the little girl or infinity. Now notice that we're saving as clips Studio paint files Here, these air dot seal I p. Actually, this is a PNG, which is interesting, but we're saving as, ah clip studio paint files here now to get it out into the world so something else can use it other than clip studio paint. What we do is we come down to export. And here, the most popular way to do it, at least for you right now is going to export a single layer. And I can make it a bit map file A j peg PNG all the way down. I can even make it a photo shop file. If I want to load this into photo shop. Let's make this a PNG. So I go ahead and I click on that and it says what? You want to name it here. We owe something. PNG. It's actually infinity. So, Uncle Yeah, go ahead and save that. And it asked me all kinds of, uh stuff about the quality And what do I what layers dough I actually want to include. And I'm just gonna go. Yeah, that's what I want right there. Go ahead and export it. So there's a difference between saving in the native Clip studio paint format, which are clipped files, and I do that by file save. Where'd it go? Oh, there's nothing to save. So it's it's blanked out and then exporting, which has to do with exporting out of clips studio pain into one of the common graphics formats. Now, the final thing that I want to talk about is how to get out of clips. Studio pain, actually, how to get rid of these tabs. Let's do that first. Infinity has no safe. So I do Is I click on the X here, an infinity is gone. And now notice how this layer here with my tabs is gone. Because I only have one file open Now when I go ahead and I say quit, which is down at the bottom of the file menu that's gonna ask me, Do I want to save this? And actually, I don't and I'm back out of clips, studio paint. So that's how to use the basic file operations of New Save Open, close export and quit. If you didn't quite follow it all, go ahead and watch the lecture again. And make sure you have this down because this is gonna be your file management and manipulation process, and up next will be simply drawing using a digital pen. Now, the combination of the file management stuff that we just covered and the ability to draw with a pen is the only two things that you need to know in clips. Studio painted start drawing like a madman. If you're an analog or a free form or a by hand drawer, that's all you need to know. Forget about home, the digital stuff and use your talent to draw beautiful things, so I'll see you in that lecture. 19. Simply Drawing Using a Digital Pen: in this lecture, we're gonna look at simply drawing using a digital pen. Finally what? The point that you get to draw. So I'm gonna provide an overview of your drawing tools and the options for the configuring them. So what I'm gonna do to simply draw in clips, Studio pain is, let's bring up clips, studio pain. I'll start it from my task bar. Then let's create a drawing area by going to file New and I really like this. It's actually if you go to sizes, you can get the, um 1900 by 1 80 bite or 1920 by 1080 and 72 d p i And then here you could either flip it and make it tall like this, where you could make it wide like this so you can flip the dimensions of height and with and paper colors white. No template, and that's all good. This is an illustration, by the way. I'm just doing an illustration later, we're going to get into the comic layout, and it's a little bit more sophisticated as faras the options that you can supply. But right now, let's just do a simple illustration. There we go, and I want to show you your drawing options. Now here they are, pretty much in this area. If you go to the pen, notice that you have two options. Actually, you can use the pen, or you can use the markers so they're both under here so you'll see your pen icon change from Penn two marker on the pencil. You have the option of pencil or pastels that you can draw with. And then in painting you have water, color oil paint or India ink that you can use to draw. And they in the ah graphics program tries to simulate all of these for the spray. Can you just have the hairbrush? And that's pretty much you're drawing options. Now let's look at the options within dry. If I go to the pen, I have the G pen, which I use most the time a mapping pen, a turnip in that that's one of those pens that comes out skinny and then it has a ball on the point. Ah, calligraphy pen so you can get those calligraphy lines may show you this. See, it's it's slightly slanted so that at one angle it goes very skinny and and the other it goes very fat. So that's the calligraphy line. The G pen just does a standard line. So the other ones I find and a textured pen you know, you could pick any kind of pen that you want. Now, down here at the bottom, you have your tool properties. So here you can further modify your pen here, I can play with the brush size. I could bring it down, or I could bring it up and you could see it gives you a simulation of what the brush is going to look like. I can also click these little numbers to bring it up one pixel at a time. This is the pixel with of the brush or down, and I can also click on the number. And I could just type in a number like 12 and press enter. The final way to change your brush is to come up here to the brush sizes, and you can pick from any of these. So let's go for maybe six, and then I can come back to the Standard Pen properties here. I can also pick color down here on the color section either from these color samples or from the color wheel opacity I can pick folio. Paic means that you can't see through the lines. If I pull down opaque, this is going to just turn green gray because I'm seeing white through the ah line, Andy and listening. This is really neat. Um, let me turn Andy alias ing off will do none. And then, uh, let's get a G pen fully opaque. Here we go, and I'll draw that. Now we zoom way in on this, you can see at the edge. Oh, I have Andy alias ing on. Try that again. If I draw this notice how you get a very stairs Step e ragged edge to this. Now, if I turn opacity or anti at least thing all the way up, notice how it actually blur, is it? Put its in gray so that you slowly ease into the line. This will make your line looks smoother than this line. Now, once again, for performance reasons, I like my opacity about here. I find that this makes it smooth enough stabilisation will actually stabilize your lines. So if I jack this all the way up and I draw a line. It makes it fairly straight and stable. Whereas if I take stabilization off and draw line, it's gonna be rather more ragged and ah, jittery. Now remember, if I want to change my view, my favorite is to come up here to the navigation window and click click on Fit to Screen, and that will get me back to the standard view. Now, if I click on the little wrench is down here, I'll actually get all of the options. And here I can pick various aspects of brush size and ANC. And if I click on any of these here with a little eyeball, it adds that particular option, like mixed ground color to my a tool property menu. If I click on, I can also click on an enable the function and could figure it over here in the screen or by adding it to the tools properties. Aiken could figure it here, so we're going to remove that. Now you can go through and look at all the options. Correction is interesting. If you turn on post correction, it will actually correct your line. Let me show you this. Okay, we got that maxed out. So post correction on Look, I draw the line and afterwards it redraws it for me, and it makes it very smooth. That's pretty cool. Once again, we're going to go to the tools and we're gonna turn post correction off. Now. If I moved to another tool and come back here, it can end up resetting all my options to the defaults. So what I like to do is click on this little wrench up here once and twice, and that saves my current tool properties configuration. So I go to another tool, Let's say down here to the eraser or something and then I come back. My tool options will be set to the same as when I left them. And then you just draw so I can draw anything that I want. And that is simply drawing with a pen, a marker, a pencil, pastel watercolor, oil pain, India ink or an airbrush use, which ever one that you would like to make some art. And it's a simple is that. Remember that we're going to come up here and we're going to save our work, and if we like what we've got come down to exports single layer and export your drawing as a PNG or a J peg and you can share it with people. Well, that was it. You got to draw. Didn't feel good. Next, we're gonna look at really eraser undo and clearing layers, in other words. Ways to get rid of your artwork. 20. Eraser, Undo and Clear Layer: in this lecture, we're gonna look at the eraser, undo and clearing layers or ways to get rid of your artwork. So I want to show you how to use the eraser. So using the erase of their racer is quite cool. If I come down to the eraser, uh, I have the option of doing Ah, hard eraser. Now, if I do Ah, Hard Eraser. What it does, is it? Let's make it a very large. So I'm going to come to the brush size of the eraser and I'm gonna make it something like 60. There we go. Come back to the eraser and you can see that it makes a very hard or race. It just removes everything. I come down to the softer razor, then you can see it actually softens up the line so I can use that to fade out a line or remove parts of it and smooth it out. Rough eraser. Well, that's once again takes out everything, so I primarily use the soft and hard erasers. Now, once again, you have Andy a leasing and on hard. You have how hard you want it to be, so I can actually soften up the hard eraser and leave a little bit of the line behind. Kind of like the softer razor. Now they come up with soft eraser. You could see the hardness is down all the way. So use that to erase any mistakes that you made hard Eraser at hardest will get rid of everything under the little eraser cursor. Now, the other option that you have is when you draw lines. The last line that you drew you can undo with the little undo here so I can undo that line and Aiken repeatedly undo. I can undo the last line. I can also redo with this and finally another option you have for clearing your workspaces . Let's say you draw a bunch of lines. You're going to draw a lot of bad art for a while until you get used to the tablet. If you have one and you get used to the software, this area appear clears the entire screen so I can start drawing again. So I draw something. I try to do some artwork and stuff. I don't particularly like it, or I learned what I'm going to learn from that, and I clear it and I started drawing again. Now remember of you come up with anything that you really like. Go ahead and save it, and then go and export single layer as a. J. Pegram PNG's that you can share it. Well, that was it. Now you can remove your artwork as well is applying it. Next up is the clip Studio Pain Fundamental Section Workshop in which I demonstrate everything that was covered in this section. 21. Zooming and Panning Your View: this lecture is a late addition. I'm adding something really important. While you draw is zooming and panning your view around the screen. You can zoom in and out toe, look at fine details and see the entire drawing and then reset the home if you want. And you can pan around your work to focus on different areas of the screen if the whole page doesn't fit on your screen, so this should be a quick election, because this is really simple. But I just had to let you know this, first of all, to zoom in and out. The easiest way to do that it's just use your mouse wheel so mouse a mouse wheel forward mouse wheel back. You can zoom in and out now, if you're using a touch screen, then you just pinch the screen and you pinch will open your fingers to zoom out. So that's the touchscreen gestures. It's very handy when you're drawing something and you want to get under. You know my new details that you just zoom in on it, and then it's much easier to draw those details now to get back out. What you do is you save you either fit to screen, which is control zero. By the way, if you want to use your keyboard or come up here to the navigate and pick this little fit to screen here, so those fit to screen is in two locations now the other thing that you want to do is you want to move around and that's the hand tool. Now, if you're using a touch gesture, tablet or something, it's just putting down a single finger and moving it around that will move the screen. But the hand does the same thing appear Now I congrats and it will move all of the layers if I have multiple layers on the screen so it moves my image or my view of the image around . So the combination of zooming in and then panning is very helpful when you're moving around and doing detailed work on things. Now the other thing that I can dio come up to navigate and is that I can rotate you see here. So if you're if you're doing something like you want to draw ah, straight line across, but your best it drawing from the lower left to the upper right you can take the thing and even like that, and now I can draw to my upper right ends up being parallel. Now on your navigation screen is reset. Rotate. So go to the navigator and you can get it back to where you had originally so that your functions Oh, by the way, if you have touch gestures, just put two fingers on the screen and rotate them around each other, and that will rotate the screen, so touch gestures are yes. Two fingers apart is zooming in. Two fingers together is zooming out. Just touching with a single finger and moving around is panning, and rotation is two fingers rotating around each other for the finger gestures. That was it zooming and panning. Very useful, and you got your choice between touch gestures or using the hand tool along with your mouse wheel. Either will do the same function. I think I think the hand gestures air more handy, and I kind of miss not having them on my current tablet. So I moved over to the hand and the mouse wheel and the next lectures. Actually the clip studio paint Fundamental section workshop. Yea, we get to draw in clips dio pain. This should be fun. I'll see you there 22. Clip Studio Paint Fundamentals Section Workshop: Here we go. We made it to the Clip Studio Paint Fundamentals Section Workshop in which I'm going to demonstrate the use of the digital drawing tools. Okay for the drawing workshop. What we're gonna do is we're gonna go through how to set up your drawing. The first thing I'm going to dio is I'm gonna come down and I'm gonna search for clip studio paint. And I only find clips, studio and from within clips studio. I can bring that up and I can actually start clips, studio paint from within clips studio. What I can do once I have it up is it will show up on the task bar down here. I can right click on that, and I can say pin to task bar. And here, this says un pin from task bar, because I currently have it pinned. So pin it to the task bar to make it easier to start in the future. Now, what I'm gonna do is I'm going to start an illustration page, so I'm gonna go to New and here once again, I like my 1920 with by 10 80 height and a resolution of 72 p now, 72 pp. I is good for displaying on the screen. But if you want to print what you're doing, then you had to go to it. You have to go to a least 300 peopie I and actually 600 is becoming the new high rez kind of standard. But I'm gonna go with 72 pp I because it takes up less resource is it will be faster to draw, and I won't have any lag problems. And I'm just going to display what I'm creating on the Web. By the way, this is just a simple little stray shin. So it's that far left icon as I create new it's this one here, the orange one that I select to do all this select other ones and you get other options. So illustration. Now, what I'm gonna do is I'm gonna do a drawing and let's say that I like it. I'll come up here and I'll say file save as, and I'm going to save it in my art directory as sample got clip. Now this is saving. It is a clip file that I can reload the other thing. I'm going to do is I'm going to export this export single layer as a J peg, and it gives it the same name and puts it in the same directory. Let's export that now. One of the things you want to do on export is you want to knock down the quality a little bit, so I like quality of 90% rather than 100%. That will make the image much smaller. Let's go ahead and say here, and it shows you what it's going to look like. Okay, now the other thing is, as I'm drawing along, I can go and I can clear and I can create a brand new drawing so I can create a Zeman AEA's . I want just go ahead and clear. Additionally, as I'm going along, I can undo my lines and redo them. The other thing that I have is that I can go to various styles and so on. I can go and I can change colors. If I change the foreground color here by double clicking on it, let's say to a yellow are a gold. Then I'm drawing in this gold color and I can double click and send it back to black by pulling down the selector here. The other thing I can do is while I'm on a tool, I can come here to the color wheel and use that or any of these pre selected colors and draw with those now the eraser. Once again with the eraser you have hard for really erasing and soft to soften things up. Become down with minima hardness. You can, uh, hard leaving. There we go. See, it does a very faint or race and what you're typically probably going to do is is the erase with the hardness on it. Here we go and use the clear screen to get rid of everything. So that's the workshop. Your assignment is to go out and draw something. See what you can dio use the various pencils and pens. You can color it if you want to do that, make a drawing, go out and save it. Exported as a J peg and then uploaded to the Q and a section of the course, and the next lecture is your section project, in which you're going to be asked to do exactly that. I'll see you there. That was it. your workshop coming up. Next is your section project in which you get to draw and show me your work. I'll see you in that lecture. 23. Conclusion to Clip Studio Paint Fundamentals: So that was it. The clip Studio pain fundamentals. I hope you learned enough to actually use the program to draw. We looked at starting clip studio painting, setting up Windows 10 to start it faster and easier. We looked at the screen layout of clips, studio paint and a little bit on how to reconfigure it. Although don't do that drink while watching the course that your screen matches mine. We looked at the key functions of file new save open, close export and quit. They're all under the file menu and how to simply draw using a digital pen. So, without any assists, just how to draw the pen. Except we did. I did give you the assists of how to use the eraser, the undoing, the clear layer. And then I demonstrated all of this in the workshop. I hope that helped a lot, and we're gonna have further workshops in the following sections, and then you've been given the project to draw something and submitted to the Q and a section of this course so that everybody can see it and praise you for your work. And here we are in the conclusion. So in the next section, we're going to look at drawing fundamentals. So if you're completely unfamiliar withdrawing, we're going to get you started. By showing how to draw the basic shapes, I'll see you there. 24. Introduction to Drawing Fundamentals: hello and welcome to the section on Drawing Fundamentals. Now this section you can skip if you're already proficient of drawing. But I thought I'd give some fundamentals information to those that are brand new to drawing . Oh wow, brand new to drawing and brand new to digital drawing. That's a lot to learn, but stick with me in won't make it through. Trust me. So the first thing we look at his drawing lines, primarily straight lines and how to make him straight and smooth. And then we're gonna look at drawing curves a little bit more complicated. Then we'll move on to circles and ovals. They really kind of complicated, adding contour lines to throat so three D dimensions and how to create three D cylinders, which are used quite often to put together characters and all kinds of things. You just use cylinders and throw them around while you're sketching. Then we're gonna look at three D cubes and rectangles. These air used more for buildings and man made shapes, and so on in the workshop, I'm going to show you all of this stuff in action, and then in the project, you get to show me by drawing some basic shapes, saving them and uploading them to the Q. And a section of this course in the conclusion will review all of this information. So without further ado, let's go to the first lecture in this section, drawing lines. I'll see you there. 25. Drawing Lines: in this lecture, we're going to begin learning drawing fundamentals by drawing lines, specifically straight lines, which are pretty much the basis for, ah, lot of stuff that you're going to draw. So let's get started. Okay? So first, we're going to focus on straight lines. Now, this is what I want you to do. And I want you to notice a few things I'm going to start in the lower left and I'm going to draw up like this, and I'm gonna try to draw a parallel lines. So let's play this game, draw parallel lines, and if you draw, try to draw them as smoothly as you can. Now, what you might end up with is something like this. And I've been drawing a lot of that my court in the course so far because I've been drawing with a mouse. Now I've moved over to my tablet and I can draw much smoother lines. That's one of the reasons toe have a tablet. Now, if you're drawing like this, your lines than what you're doing is you're you're drawing Teoh, you're drawing too stiff. What you got to do is you gotta let it flow. First of all draw from the shoulder or, if you're on a small tablet, maybe draw from the elbow and move your whole arm. Don't draw just from the hand you might draw from the hand. If you're drawing like riel, small details like this. If you draw from the elbow, then you can draw longer lines like this. But if you draw from the shoulder, you can draw any line that you want and you get them nice and smooth and you draw them quickly. Now let's play get another game. So the first action in the first game that I want to play is I want you to draw smooth lines from the shoulder, all parallel about the same length and about the same distance apart. So go through and try that. Just draw parallel lines, and one of the things you're gonna notice, too, is that you draw in a particular direction better than anywhere else. I'm drawing diagonally to the upper right, and I'm right handed, so I'm pulling from the lower left hand of the screen. I can also do pretty well going the other direction, but I like diagonal. If I draw straight up and down it gets tougher to draw the lines. If I draw straight across, see, they don't want to go really straight across. I don't want to bend my arm. So one of the things you can do is let's come over here and we'll zoom in on what we're looking at. One of the things that you can dio is you could come up here to the hand and notice there's a rotate. So when I click on the rotate, I can rotate this screen. So if I want to draw horizontal lines, I can move my screen at a diagonal, come back to my pen, and I can draw beautiful horizontal lines. That's one of the things you may want to do, is actually rotate your screen now to set it back to where it was. I can come up here and Aiken on the Navigator. This little thing removes the rotation, and I'm back to the normal screen. Another thing that I want to point out is, let's play another game, so you're gonna draw parallel lines for a while. What if I want to connect two points like this point and this point well, I might start here and then draw across like here and then end like that. That's a ragged, rather ragged line. I wasn't using my shoulder it all. Now how do you use your shoulder? Let's undo apps. So do that. Let's undo that. Now let's say how do you do this from one to another? Well, one of the things you can do is you overshoot. So I'm gonna drug past the dot that I'm aiming for. And the more you do this, the better you get at it. Now. The other thing that you could dio is let's draw two dots again. So I have this dot here, and I have This died here is that you draw past the dot This is called Draw Through and the other. The final thing that you do is you do several passes. So see, Aiken, I could pass, I could pass, I could pass until I get it right. And then I finally put. Then I finally put my pen down and I draw the line. See how accurate you can get at connecting dots. So three techniques that will make your lines smoother and steady, dear, Steadier is one drop from the shoulder to do draw through, drop past the point that you're aiming for, and then you can erase the excess lines later. And in fact, you could do it very quickly. If it's a vector line. Using the Vector Racer is, I'm gonna show you later, and the other is to do try Elrond so you go through like this until you get that's that's gonna do it, and then you put your pin down and you're going through it. So that's techniques for drawing lines. Now you can use lines for various things. For instance, let's say we want to draw a box. What I would do is I would draw through like that and I can draw back of. I want to make it three D and draw down here and draw across here and make a three D box. That was that was a messy on those lines, wasn't it? Eso and it's because they were straight across, have a hard time up and down and straight across those air difficult. So there is how you you would draw a box with straight lines once again, and to get the alliance, draw them to get the lines smooth and straight. Draw them from the shoulder and draw through and do. Ah, if you really want them to be accurate, do these test runs passing the pen just over the screen and then touch it down like that? Now another fund things to take these parallel lines, see if you can split them. Can you go up the middle? It gets tough is they get together. OK, so little exercises, little games that I'd like you to play. I'd like you to lay down parallel lines that are about the same distance apart the same length. Oh, another thing that I wanted to point out about drawing lines is that noticed the pressure. This pen is pressure sensitive, so the harder that I push it has eight hunt 1000 levels of pressure sensitivity. The harder I push the darker Linus. So that's another thing. Try and keep your lines the same color, so do a bunch of lines in parallel. Then try and draw between the lines and then clear it and draw darker lines and try and make them all the same darkness and parallel and then draw between the lines. Now, the final game that I'd like you to play is create a bunch of dots on the screen. So here I'm putting my hand down. I'm just using my wrist because these dots are fairly small and and detailed not using my arm and then make a few passes. See if you can connect and try going different directions here. I'm going down. That was my direction here. This is hot in my direction. This is almost backwards. Here's straight across and try and connect the dots. See how accurate you can be on drawing through dots. I'm most accurate going here to the upper right hand corner. And again I might want to rotate to get that, rotate the screen and just completely draw nothing but up to the upper right hand corner or pull them down. So that's drawing lines. So that was it. Drawing lines and you have exercises to Dio don't schurick on doing your exercises. The more you draw, the better you're going to get, and up next is drawing curves. We're gonna add just a little bit of complexity 26. Drawing Curves: in this lecture, we're gonna look at drawing curves. Or, in other words, I'm gonna throw you a curve. When it comes to drawing straight lines, curves can be curved the beginning, the end of the middle. But they're more organic shapes than straight lines. Straight lines are usually used for architectural things and curves or human bodies, fruit and all the other organic things that you're going to draw. So in this lecture, we're going to draw curves. So here you become an expert. Write it at straight lines and drawing them darker and softer and then splitting the lines and, um, notice. Once again, I'm drawing from the lower left of the lower right. Make sure that you draw sideways as well, and still that sideways draw wants to wants to go diagonally and up and down. Do the up and downs, get your nice straight lines going, split them, uh, draw between points. Actually, let's straw point here and a point here and draw those lines through Now. What I want you to do, though, is I want you to draw curved lines, so let's start curving those lines and let's see if we could get curved lines kind of going parallel the same length in the same darkness and then go and split the curved lines. Now notice. Note that when you start adding a curve to align first note that most organic objects are not going to have straight lines in them straight lines or man made things and structures. So if you want to start drawing organic, then you're gonna have to start getting into curves and curve different directions. Curve in, curve out, curve straight up and down and try to make them all parallel on the same darkness. Play with your play with your tablet or your pen. Pressure to make the lines darker, split the lines and start drawing curves. So noticed, too, that your curve can have a curve in the middle like this, and it can also have a curve at one end. Let's see if we could. There we go. So you're going along and then you curve like that. It could have a curve at the other end, so curves are very important. In fact, it's pretty much what you're going to draw with. So when it comes to sketching what I pretty much like to dio So I like to go like this with curves and try to get my lines pretty much together. So I'm going to draw ahead. For instance, I would draw it this way and put in the eyes and then the nose put in the mouth and, um, draw it with short, curved lines like this. I usually come from the upper to the lower. I can draw this way to the opposite way, but I like my diagonal notice that I I get worse when I draw in various areas. By the way, I get worse when I draw in various directions. So I want you to draw curves and then this is a really tough one. Set yourself up with some points and then try and draw a curve between them. Uh, that's that was pretty close, and I have another point down here. Points here. Draw a curve between the two points and once again overshoot. Draw some sample lines of that's what it what it requires, but draw occurs in various directions to get the hang of curving your lines. So that was at curves. You just learned a very important fundamental drawing technique. In the next lecture, we're gonna look at circles and ovals 27. Drawing Circles and Ovals: in this lecture, we're gonna look at drawing circles and ovals used for heads and Commemorating body parts and and so on for circles and ovals. You're gonna use a lot in your sketching. It's the fundamental shape of organic shapes or the primary building blocks. Okay, so here we go. We're going to draw circles, and this is what I would like to try. Have you dio is there's one benefit to actually having a lighter pen notice. I got this pen fairly light, and one of the benefits is that you can go over your circle many times and build it up. So if you're not drawing perfect circles, don't worry about it. Connect them, overshoot them. And what I'd like you to do is I like it a line them up like this. So do a row of circles. Make them as round as you can and draw another row of circles and just fill up your screen withdrawing circles. Now this I'm definitely drawing from the shoulder, and you could see it makes smoother lines and more circular circles. Now try and draw a circle in the center of the circle. There you go. And just keep drawing circles. Now circles are going to be used for heads and so on, so you can actually combine them. You can combine them with the lips. Is so let me show you some of the drawing techniques. So if I want to draw ahead, I would Oh, that's that's terrible. I would draw kind of any lips like this, and I could go over it several times to make it what I want and and it would have lines for , you know, the where the eyes are and the center of the face. So you get the nose in the correct position and so on, and then maybe I would ah ah, draw. Let's see, Let's ah say we get a smaller circle here for the head and then maybe I draw sideways over for the shoulders and I draw a big circle for the body. And then maybe another oval going sideways for the hips. Maybe. Ah, circle here and lines coming down to a circle here for the for the body draw, Drive like this. Have arm coming down. I'm ahead these of this arm way too long. But anyway, so this is where you're gonna use circles and just keep drawing your circles. Do this exercise where you drawl your circles. Then you draw inside the circles. And what the heck, Why not draw between the circles, too? Just set up and draw various sized circles and see if you can space them out and get them drawing well. Now I definitely I lift my hand off the keyboard and really go for the shoulder here on my circles. So that's drawing circles. Well, that was it. Circles and ovals. In the next lecture, we're gonna look at drawing three D cylinders, the logical extension of combining curved and straight lines and circles and ovals. 28. Drawing 3D Cylinders: in this lecture, we're gonna look at three D cylinders. This is primarily used for arms and legs and things like that. It's a combination of your straight and curved lines with Silman with circles and ovals. Okay, so drawing cylinders, what a cylinder is basically is it's a circle with the curved line typically and then another circle. So this is very handy and making arms and stuff such If I have a body here, let's say let's say we go circular here and I want more of, Ah, a circle like this coming down for its chest. Then I would draw a circle here for the shoulder. I do some curved lines that I draw a circle here for though this comes together. And then maybe the sec, the forearm. I would draw down like this and then later I'll connect them to make a complete arm and shoulder. But I'll get the circular shapes and stuff in here to Ah whoa, the wrong way with that to get the idea for what I'm drawing and you could see this is turning into more or less ah, human being. So I want you to draw cylinders and see how accurate you could make the lines connecting them. See how curved you could make the lines draw circles and cylinders connecting them. Well, that was it. Drawing cylinders up. Next, we're gonna look at connecting all of your basic shapes to make complex shapes. 29. Connecting Your Basic Shapes: So now you have a whole bunch of basic shapes on your piece of paper. Well, now we're gonna start connecting those shapes to turn them into complex shapes. Okay? And the next thing that I want to talk about is, let's say we have all of these shapes. So I put in all of these shapes and I get ah, basic idea of a human being here. Something like this. Well, proportions on this Earth are way off, but that's okay. Oh, we're saving. Yeah, a little bit of lag there. Now, what you do is you go and you connect these things. So here we're gonna have an elbow, and you just connect. These lines here will have the neck coming up to a phase and just connect them all together here will come down into a body. So here we're going to actually turn our little connected lines and or our cylinders and so on and our various shapes, and we're gonna connect them all together with these connecting lines. This would go down to hips, and maybe I want to take this in a little here. We're going to kind of bring out the legs and I've run out of room here. The legs need to be much bigger than that, and you sketch it out and start getting your body together. So these are the connecting lines that connect your circles and use curved lines. Typically, to do this with organic shapes and connect everything together and start getting your basic shape for what you're sketching together. Well, that was it. Connecting your basic shapes. In the next lecture, we're gonna look at drawing contour lines to add depth and form to your drawing. 30. Drawing Contour Lines: in this lecture, we're gonna look at drawing contour lines, Contour lines. Ah, follow the contour of the shape off a three D object and it adds depth and formed your basic flat drawing. Okay, so contour lines that just kind of give you a three d effect. So let's say I have my head here and then I come down into maybe ah ah, chest kind of thing going on here. And I've got my my arm set up here and I got my other arm coming down this way. And then I start drawing everything together, start smoothing it out, kind of getting it toe to curve more. And then what the's do is to give them a three d effect. What you do is you draw contour lines to show the curve nous of things. So this is contouring out like this this weekend, actually draw a couple lines, but draw these curved lines to show the contours or give death to your drawing. So this this is what contour lines are. We can get an idea for how the chest moves out and so on and and get ah, start getting a depth to the things that were sketching. Well, that was it. Contour lines. In the next lecture, we're gonna look at drawing three D cubes and rectangles back to the man made shapes. 31. Drawing 3D Cubes and Rectangles: in this lecture, we're gonna look at drawing three D cubes and rectangles for man made shapes. So cubes and rectangles. Okay, so what we need is we need straight lines up and down to draw Cube and then to draw in three D. What you do is you bring these back in some direction. Now, actually, there's four of these, so this is going back to but we don't see that if it's a three d object and then we draw vertical lines here and you can see that here is now are box. These are the lines that we would want to keep in our box. And we can really dark in them up and make this box start to to come out. Now, if you want to draw a rectangle, you just You just make it longer in one direction than in the other. But you can draw the same three d effect by bringing these out, making these lines parallel, making these lines up and down and draw yourself some boxes. So boxes they're going to be used primarily from man made things, architectural things and so on. And eventually we're gonna learn how to add perspective to our boxes so that they disappeared to a vanishing point. Well, that was it. Drawing three D cubes and rectangles in the next lecture were actually gonna pull all of this stuff together in the drawing workshop where we're gonna have fun drawing shapes and connecting them together to make complex shapes. I'll see you in that lecture. 32. Drawing Fundamentals Section Workshop: in this lecture, we're going to do the Drawing Fundamental Section workshop in which we let loose and draw. Now, you're also going to see that I'm not a very good drug are. But that's okay. Practice makes perfect. And I'll get better as you will to the more you draw. Okay, so here we are in the workshop in what I thought that we would do is let's try drawing a human being. Let's see how close I can get to drawing a human being. So here I am with the drawing tool and, uh, undo that and, yeah, I'm happy with the with that drawing line. Now, let's, um okay, the first thing that I want to do is I want to mark off some dimension. So let's put the top of the head there in the bottom of the feet here and then about halfway through is about the pelvis. Halfway through that. Yeah. Here's halfway is the knees. This is the bottom of the head. This one Let me see. That's the middle of the chest. This is around the belly button. That's up on the thighs. The knees come down just a little bit longer so that kind of gives us some basic dimensions to draw with. So the first thing I'm gonna do is I'm gonna put in a nice a round head and then a short neck, and then we're gonna have him come out this way and and come down to a waste around the belly button here, get him about there and then we'll have some hips coming out. And then let's ah, set up Whoa! That went way outside, set up some lines for, uh, maybe ah thighs coming down and and the other thighs will connect here and we'll have the thighs come down like this. And then finally the bottom of the legs, if only out of proportion here, and we'll put the feet on him. He's a little stubby. Somehow my my legs got shortened up a little. But that's kind of the basic idea. And the arms are going to be shorter up on top and longer here. So it's make that longer, and the total length of the arms, the hands should come around the waist or the midpoint. So let's let's put in a basic hand here. Well, we go and then on the other side will sketch in the other arm and put that maybe coming down this way, notice the arms, get skinnier. It went in then they are at the other end. So it's handle some out here kind of like that. And then you start connecting these things, that smoothing it out. So here we want maybe the shoulders to come up a little bit and out into here and and the elbowed thats is a really strangely shaped arm. We wanted to come in more like that. This definitely needs to come to a waste and here and hips coming out this way, which naturally go right in to the legs which were gonna come mawr in this direction and joined together and then ground to the knees. Let's bring the knees up a little bit higher. It's that we can get them here in the right spot and ah, we can draw a better foot than that. I would say their foot here and bring this up into this area and a little higher and thighs coming in like this. Yeah, something like this. And here we have ah, big barrel chest. So on. We haven't pointing kind of this way. Eyes are a little higher on the neck. Coming down like this ends the body and those shoulders coming around here. Bring that up a little bit more. We go and we're coming around. Make the elbow not and curved. Um, and hands could be slicker, especially this hand. It's really deformed. Ah says to come in more on this side and out a little more on this side to give us s. And And there you go. We've kind of drawn a human figure. Now notice the head is a little small. So once again, let's try Ah, grabbing the head Well, a circle draw there. We'll come in and we'll grab the head and then will change its proportions and increase that puppy and then move it back into position and say, OK, area Now we actually made his head probably too large, but this is the idea of sketching so ah, lot of short lines. Like what? Let me get my line. Ah, lot of short lines like this curved lines and you connect them together. So this is a small figures. I'm doing even smaller strokes and keep forming it out until you get something that looks human shaped. Mine is a little stubby. I think I ran at a room and I made him too wide. If ah okay, we're talking about that. He's supposed to be, Ah, eight Heads high is this? Ah, this head is too tall and it's supposed to be three heads wide, and it's supposed to be there at the hip, so I should have done my proportions a little bit better. But go ahead and draw stuff That's going to be the point of this exercise is start sketching because soon we're going to actually start the drawing workflow. And by then you gotta have sketching down, and we're gonna actually draw and go through the whole workflow of sketching, inking, color, flattening, coloring, highlighting shading, lettering, backgrounds and production. So the whole shebang anyway, that's my sketching, or that's my fundamental drawing workshop, and I hope that you learn something from it. I look forward to seeing your fundamental drawings. So that was it. My drawing fundamental section workshop. You saw how bad of a drawer I am, But even it is a bad draw. I can still make pretty decent art using the support of my computer software in the neck. The next section is the Drawing Fundamentals Project, in which I'm gonna have you draw some basic shapes. I'll see in that lecture. 33. Conclusion to Drawing Fundamentals: So that was it. Drawing fundamentals. I hope that you learned a lot about drawing lines, curve circles, ovals, contour lines, three D cylinders, cubes and rectangles. So we got all the basic shapes, and with these shapes you're gonna be able to form just about anything. And I demonstrated that in the workshop. Then I gave you a project to demonstrate to me that you understand what's going on in this section before moving to the next. And speaking of the next section, it's painting fundamentals. That one's gonna be really short because there isn't quite as much to painting you smear things, but it's actually there's more to it. There's more styles and so on that you can use than you'd think. But drawing to me is where really the art is the sketching up front, so make sure you got the drawing fundamentals and the painting fundamentals. You can be a little sloppier in my so I'll see in that section 34. Painting Techniques and Styles: in this lecture, the only lecture in this section. I felt obligated to talk about painting fundamentals, although I don't really know a great deal about painting. And so I'm going to show you my painting style and techniques that I'm about to teach you in the rest of the course. So when it comes to painting, even digital painting, there's all kinds of beautiful paintings that you could do. You could do impressionistic. You can do water colors and you can do beautiful oil paints. It's even got, ah, clip Studio Pained even has India. ANC is another one. You can do pastels, markers, anything that you want to paint or draw with. But my painting style is fairly simple. It's kind of like coloring book, fill in the sections with color, and then I get a little bit more sophisticated than that. I add shading and highlighting. Anyway, it's so simple that I thought I would show you the entire process as and intro to the fundamentals of painting. So what I'm gonna do is I'm going to create a new page to work on, and it's my default wide page that I like, and the first thing that I'm going to dio is I'm gonna What? I'm gonna show us how to color how to color a one ball. Ah, one ball pool ball and I'm gonna number it and I'm gonna make it yellow, which is the correct color for the number one pool ball. And then I'm gonna shade it and highlight it all using my coloring techniques. So this would all begin with a layer. Let's double click on this and name it inking. There we go. So we haven't inking layer. Now this would you typically be a vector layer. But that's OK. It doesn't matter. And what I'm going to dio is I'm gonna come to the Ellipse tool and I've got my brush size said it for And I'm just doing the outline and I'm gonna get make myself a one ball. Here it is. You know, actually, I even like to do that a little bit larger. Let's start more up in this area. Ah, because I got I've got a lot of screen to fill here. So there we go. There's my one ball now also is part of Anqing. What I might do is I might put in the the circle for the number. And since it's gonna were gonna make it right in the middle of the ball so that it's really it doesn't distort with any skew because of the roundness, the ball or anything, so we'll make it right about there now. Actually, it's just slightly off. But that's okay. Not much skew is going to happen because of being slightly off. And in fact, let's do this. Let's make it slightly off and skew it just slightly. So I'm going to take away the perfect aspect ratio from this, and I'm gonna move it off to the side and I'm gonna pull it at a slight angle like that. So it is skewed just a little. There we go. Then let's go ahead and we'll put the number in there so I'll go to text. I want something like, uh, times New Roman. That sounds like a safe font. Times new Roman. And then I want to come here, and I'm doing this all on the same layer, which is naughty. I'm gonna say one, and then I'd like to move this around. Actually, I'd like to increase its size, so let's do that now the one is also going to be. It is black. That's true. So that's good. Okay. And then I want to move this one over to get it more or less centered. And it's not gonna be affected too badly bythe skew, but will be closer to the our appear closer with left of this thing, then to the right. So there we go. We've got our pool ball kind of thinking done. Now, the next thing that I would do is I would create a layer below the inking layer. So here's inking. Okay, I'd go below here and I'd say Give me a raster layer and then I'm going to go to the inking layer. I'm gonna click on the little lighthouse to make it the reference layer. Now, when I come down here and do things that Okay, So here comes coloring. Ready. The first is what's called color flattening. And what you do is you pick your color. See, I want yellow. Very bright yellow for the, um, with one ball and I go here and multiple references. What are we referencing? The reference layer. There we go. So we're referencing the reference layer and I'm gonna dump and there is my yellow pool ball. Now, the next thing that I'm going to do is I'm gonna select White because there is white around the number. I'm gonna go here and I'm gonna dump my white. Now that didn't show very much because there's a white background. But when I take that out, you can see there's white around the ball instead of this transparency for the next thing that I would dio is I would do any coloring. So if there's any special coloring, I would add stripes or something like that. And we've already been doing color flouting. But next would be the specific drawing of color. Now, I don't have any drawing color here, so we're gonna skip that step and the next step. This is what I like to dio. I'd like to add another layer. This one is above Let's double click on this and call it the color flattening player for right now. And then I'm gonna call this the shading and slash high light ting layer went on that this what I'm gonna dio I am going to use the spray bush tooled add shadows and highlights to this Cuba or this one ball and the brush density is very low. It's down around five. The blending knows mode is normal or not doing anything weird. It's a fairly large brushes you can see and stabilization we don't really need. What we do need is the color, and I'm gonna begin with black and we're gonna have a light source up here to the leper left, so it will ah, dark in this side of the ball and lighten the side. So I've got black. I've got everything set up, except I need to click this little thing that says do not exceed the reference layer. So once again, that inking layer is going to keep me from doing anything outside. So as I dark in this, okay, but it just pull around some darkness and it's your choice system whether you make this really dark or if you're gonna go for those with subtle shades, but notice how are little spray paint tool here is not going outside the boundary of our inking layer, and that's because we're using the Anqing layers a reference layer. So let's say we get something nice and soft like that now We don't need to be perfectly happy with this, cause the next step that I do is I bring in the eraser a fairly large and with once again with low brush density of five. And I just click around the borders and kind of clean up stuff. Just a little bit softened this up. It's got a little dark in here, will soften that. You get it, get it really cruising around. Still need to soften this up a little. Uh, soften this. There we go. Now we're getting down into that area now. The other thing that you can dio to soften this up even further is take the opacity of the entire layer down. You can see that the Dow, it gets very soft and very subtle. I'm going to keep the opacity all the way up and use my eraser to soften things up. Just a tad. That's nice. Now, the other than that I want to do is I want to come back to my spray can. And you noticed this out like this. Oh, whoa. I went outside. Now, you see, if you go over half way past the line the thinking line than it actually will draw outside . So I need to remain more than halfway in here. And I don't like this yellow edge. So I'm going Try and get rid of that light clicking along here. More darkness. There we go. And then I'm gonna come back in with my racer and lighten this up. So this is the shading phase of the process. Now, what I would do is I'd come over here and I'd click on and set the color the white, and then I come over and I do the same thing highlighting on this side. Get a little more white going here. My getting I'm still in the eraser. Okay, that explains that. Let me go back to my spray. Can aereo and spray on some white. So this white over the top is very light. I don't even know I'm getting anything. Ah, there we go. Now we're getting something. It's a very light white and I want a blended in here. Here we go. On our I'm beginning to see a little bit of whiteness. I want that to be right along this edge. So I'm just gonna keep going back and forth until I get the amount of shine. Remember that cue balls or balls? We're quite shiny. So you're gonna see a lot of light. So on on it I'm gonna on a bring it in here We have quite a bit of light There we go. So there's my light and shading And then the final thing that I do is I create another layer below all of this Another raster layer will pull it down and I'll call Double click on this and I'll call it Shadow. And to do a shadow you just do black just the way that we've been doing So when you come here and set my pen to black and or my brush color And here comes the airbrush Now I don't want to use reference layer in here. I'm fine with painting right under this tool, and I'm gonna start Spread it on here. Okay, that's gonna make a roundish shadow. All right, we go, uh, around here. Uh, yeah. And once again, let's let's get it dark right up to the ball here. Okay? Filling those lighter areas and then I'm going to take my eraser again. I'm gonna soften up thes edges. Just a little. They got a little hard on me. I don't want it to be soft accounts some of this hardness here. And then, um, what I can do here, too, is I'm going to take down the opacity on this. So here, go back to my spray brush a little. It's some of these lighter shade areas. I just clicking in them. By the way, I'm doing this all with a mouse. I do a great deal of my thinking and coloring and so on, exactly the way you're seeing. So there you go. That's my shadow. So this is the way that I would make a cue ball trying to make it look very realistic. Now, the final thing that I would do is I'd probably put in a background of a table. Let's put in a raster layer in the very background, and what I'm gonna do is I'm gonna go from a green for the pool table color to a black in the background, and I'm gonna pull a Grady int. I'm going to select from the foreground of the background and it looks like that make sure that it's linear and I'm gonna pull it say right in here. Something like that. That's a glowing table. Let's try this again. Take this table color down quite a bit. And then, Ah, pull that, Grady. And again, somewhere in there. There we go. That's a much point. Subtle table and notice how subtle that are. Shading has become, and so on. Oh, we got some white out here at the edge. We drew a little bit outside the ball on our highlighting. But that's the kind of painting that I do in this course that we're going to talk about through the rest of the course. When we get to the workflow phases related to painting. I'll see you there. Well, that was it. My painting technique. I hope you like it in the next section. We're gonna look at the drawing and painting workflow. I'll see you there. 35. Introduction to Sketching: Welcome to the section on sketching. This is where everything takes off. Your sketching lays things out for the banking and coloring stage. It's really where you get to create it's It's probably the most creative process. Painting is actually quite creative, too, but I'm going to show you two techniques. One is how to sketch FREEHAND, which is what most people do that are good at drawing. Have your lousy A drawing like I am that I'm gonna show you how to use computer cheats like three D human models so you can bring up a za references to help improve your sketching. So we're gonna look at creating a project, a page and a panel just to set up your drawing area within clip studio paint. And then we're gonna talk about layers which are key to using clips, studio paint and usually mess people up whenever something goes wrong in clips, studio pain. It's because of layers. Then we look at pens, pencils and paintbrushes and what the differences are between them and how to configure each. We're gonna look a line sketching techniques and erasing, and then I'm gonna show you how you can select things and then move them, rotate them and delete them. So rather than having to completely re draw or erase something and so on, you can actually move it into shape of the arm is in the wrong position. Move it. If the head isn't big enough for the body, make it bigger. So we're gonna learn all of that stuff so that you don't have to redraw things that you sketch. Then I'm gonna show you at the end how you de emphasize your sketch later and throw it in the background so that you can think over it without it being too strong. So you can sketch actually in with a pen if you want to and make it really dark. And then I'm gonna show you how to pull it down really light so you don't have to draw with a light pencil the ANC over it. And then finally, as I warned, you were gonna look at using three D human reference models to draw from. So there will be a sketching workshop in which I demonstrate all of this stuff and then you get to sketch a scene. So this is going to be your course project that you're going to put together is you're going to sketch a scene later. We're gonna think it. We're gonna paint it. And then in the conclusion to sketching, we're going to review all of this. So without further ado, let's get going with creating our project page and panel for our course project. I'll see you there. 36. Creating a Project, Page and Panels: in this lecture, we're gonna look at creating a page and a panel in preparation to sketch. Obviously, we need something to sketch on. So this is going to be setting up that initial page. So here I am in clips, studio paint, and what I'm gonna do is win the first set up a page. Now, this is just standard. We're just going to do a sketch with an illustration here, not a comic book or anything like that. So let's come upto file new and I want the illustration. The thing on the far left here, the orange for the use of work and the dimensions air just fine for me. The width of 1920 10. 80 high at 72 at 72 dp I now you could bump this up if you're gonna print it or you want some higher relative resolution, but I'm going to use this for online. So 72 dp eyes just fine and I've got white paper, so let's go ahead and will create this page. You seen this many times already, and this will be our illustration page where I'm going to we're gonna create my course project now, one of the other things that I want to point out is that I can have multiple projects open . So let's go new again and create another page and you'll notice up here. Now I have tabs for illustration and illustration to now let's put something on it so that you can see the difference. Well put. Ah, drawing here on or actually even better yet, let's clear this will put a one on illustration. One and then on illustration to will put a To There we go now. When we switch back and forth, you can see now the other thing that's noticed that's happened is if you notice you come up here and there's a little asterisk next to the name of the file, and that means that they're unsaved changes in this. If I go to this little button over here will kill the closed the project. Let's say an illustration to I kill it, it says, Oh, I've got modifications. Do you want to save them? And I say no in this case, and then the tabs go away because I only have one project now and it shows it up, but the top so That's the way that you work on multiple projects, if you'd like. Now the other thing that I'm going to make optional here we don't really need this. We could just start drawing on this, as you see me doing here. Let's go ahead and clear this. But the other option you've got is to use panels and that's used in comic work. Let me introduce you to panels will come down here to the direct line tool and on that is a thing called Frame. I guess they're called frames. Actually, I call them panels could also be called cells, and when I want to do is pick a rectangular frame and I picked the border and how thick that's going to be. Let's see what we at were at brush size of 12. That's not bad. And then I come up here close to the corner, so it's going to give me a little border here. Let's pull about there and down to this lower corner, and what that does is it creates a panel wow with a very broad edge. Let's undo that and bring the Penn size down to something more like four and do that again que and will come down here and there. There's our panel. So what does a panel do for you? Well, first of all, as I draw boobs, try this again. I created a new panel overlaying that panel in the panel. Let's undo that, and we'll go to our drawing tool. And as I draw on the raster layer, I noticed that my drawing gets cut off. I can't draw outside of the panel, so that keeps your artwork within the panels, like if you're doing a comic and stuff like that, and it gives you a nice white border around your image now the other thing that it does is notice. Over here in the layers, it creates a new frame layer, and that contains Here. You can see I've got a little aero where I can minimize and expand this frame, and within it is a raster layer and then a background, a white background layer. And this is the standard way that frames air created. As I create more and more frames, I'll have more and more of these things that I work inside of each frame. Now I might take this raster layer and get rid of it and replace it with a with a vector layer, I might have many layers within a particular frame. Typically, I will. I'll have the whole gamut the sketching layer, the inking layer and the color layer for each frame. So they're like little mini drawings. If you do a comic with, you know, eight frames on a page or something, you're gonna have eight little, many works of art that you're working on. And speaking of, layers, were about to look at those in detail, so that was setting up your page to start sketching. In the next lecture, we're going to look at layers in a little bit more detail. Layers always seem to mess you up. If you're find that you have a drawing problem, it's usually that you're wrong, layer. So we're gonna make sure that you understand layers thoroughly before I set you free to start sketching 37. Creating and Organizing Layers: in this lecture, we're gonna look at organizing layers, the source of many problems and most drawing programs because they all support layers and layers air just like layers of glass that allow you to put paint and drawings over paint and drawings so you can merge them all together. Articulate an end illustration. So let's learn all about layers. The layers could be seen over here in the layer panel on the right. So if I come up here, toe like Navigator I've got to do is click on the layer tab here and up comes the layers window by default. When I create an illustration of just about anything, it seems like I get a paper layer, which is the background, which I can't drawn, by the way. And if you can't draw on a layer, I noticed this. When you pick a drawing tool, you get does not symbol this red circle with line with the diagonal line through it, saying that you can't use that tool on there. I can only draw in particular types of layers, including raster, layers of which this is an vector layers. So the other thing is that what are layers layers air like sheaths of acid, Tate or ah, plastic that you drawn or glass on that overlay each other. So anything that's a drawing on one layer overlays another layer. Now let's create another layer. I'm gonna create a raster layer here, and what it will do when I create a layer is it will create a new layer above the layer I'm working on. So there you go. I've got layer one and layer to now in Layer one. Let's put, Let's do ah, direct draw here of an ellipse and I want to have it filled with a nice color. So we'll get green here and I'll see draw and fill. There we go, draw the line and fill it, and then I'll pull. Let's make this a maintain the aspect ratios that I pull a perfect circle. There we go. So now I've got a circle here on this layer. Now let's go to the layer above it. Let's change our background color to read is good, and it's like that is the foreground. And then we'll pull another perfect circle, slightly overlaying it and noticed that this is above the green. The red circles above the green circle. Now every place, however, that is not the red circle is transparent, so I can see through and see the grand. In fact, if I get rid of the paper here, you can see that the gray and white boxes means transparent. So both of these layers are transparent end to get rid of a layer or temporarily not displayed. All you do is you wink this little I so I can leave out the red or I can leave out the white and I can bring them back now. This will also prevent layers from being included in your end production. So anything that's winked out will not be produced into your J peg or PNG when you export them. The other thing that I could do is I can switch layers as faras who's on top of who. So if I grab the layer to hear and I drag it down, it will dock below layer one. So now the red circle is below the green circle, so use the order of the layers to determine what's on top of what, and typically what you'll dio is. Let me show you this. If I double click on the name of the layer. I can rename it so at the very bottom what I'm gonna have. I'll have the white paper at the very bottom and you leave that alone. And then above that, I'll have the sketch layer and then above that, I'll have the Anqing layer. Actually, let's not let label that the inking layer. What I want to do is come to the sketch layer and produce a vector layer, which you do by clicking on little a tab next to the raster layers. Here's a raster layer. Here's a vector layer, so I'm gonna create a new vector layer and notice that it has a little box next to it that shows you that it's a vector. I'm going to double click on the name of the vector layer, and I'm going to call that ink. Yes, that's really thinking lier and then below. Actually the inking layer. You'll have a raster layer here that is paint, so this is typically the order off the layers that you'll have. You'll do your sketch down here at the bottom, and then you'll put ink over it and then below that, you'll put another raster layer. You'll put ANC on our vector layer and then below that you'll put a raster layer for painting and the other thing that you've got it some controls down here. So if I have many layers, let's say these air on two separate layers Now the green and the red circle. I can come down here and I could merge to combine layer below, and that will move the green down to the red. Now they're on the same layer, and I can't work with them independently. This is what they are. They're crushed together. Soto, undo that I can I could use undo to undo that if I'd like. The other thing that I can dio is I can come up here to the top and I can create a layer group. So let's call this layer group drawing. Here we go. So this is the drawing. And then I grab all the other layers by clicking on the 1st 1 holding shift and clicking on the last one and then dragging all of these until there until I have a red box around that layer. Now these all of these layers air inside this layer group and I can display them or not. That's one of the things to clean up your layers of. You have just tons of layers. You can use this little arrow to display the contents of Layer group or not, so it kind of could collapse is your hierarchy. The other thing that Aiken dio is I can now work with the layer as a whole or with individual layers. Check this out. I'm gonna come up to the marquee tool, and I'm gonna select to make sure that I get them both. And then I'm going to move them around, move them around and noticed that they both move around. That's because I'm working on the layer group, which includes both layers. Now, if I come to an individual layer, let's cancel that and will clear the selection. Now let's come to adjust the green layer and I do a selection and I move it around. Now I'm just moving the green layer so I can work it out with them together or as individual units by creating a layer group in putting layers into it. The other thing that I can do is I can come to a layer and I can click on this little lock layer, and what this does is it prevents me from drawing on the layer. Notice I get once again the circle with the slash through it. This layer is now protected so you can do that. You can lock layers when they're done when you've completed them, to prevent yourself from accidentally drawing on them. The other thing that you can do is let's unlock. This layer is down here. There's a little garbage can I can delete layers. So that's a quick overview of layers you have toe have at least a sketch, a raster or a vector layer to drawn. You can use layer groups to group your layers together so that you can work on them as a whole or independently, and you can collapse a little there layer hierarchy to organize your layers. So that was layers. Yeah, a little complex. But once you get used to them, it's gonna be like second nature. In the next lecture, we're gonna look once again at pencils, pens and paintbrushes. I'll see you there 38. Pencils, Pens and Paint Brushes: in this lecture, we're gonna look once more at pencils, pens and paintbrushes for sketching. And I'm gonna explain why you can sketch dark and you don't need a light pencil to sketch in digital artwork. So the primary point that I wanted to make here before you start sketching is that in analog sketching, you know, with a pencil and paper. What you typically have to do is you draw light pencil lines and so on. You don't want to draw too dark because you're gonna be Anqing over it. You're gonna be erasing your pencil lines. So you really don't want them around for very long. They're just for reference for a short period of time. In the digital world, you don't do any of that. You're not going to erase your pencil lines. And in fact, what you're gonna do is you're gonna throw him into the background. You can change them to a different color, and then you can make them very light by lowering the opacity. My point is that you can draw. You can sketch using anything you want. Typically, you would use a pencil, but go ahead and use a pen of you want to and sketch very darkly. Now, once again, you're drawing tools. Here you go to the pen, which might look like a marker if you've got your Marcus selected so you can use a ah magic marker to draw or a pin. And then here I've got this set for pastel. But this is your pencil to so I have pencils or pastels. Or I could even paint. If I want a sketch, I wouldn't recommend it. I think I would use instead of the air brush or the paintbrush. I think I would use a pencil or a pen. You're gonna get better lines and so on for that. So use those now down here at the bottom, you've got options. So typically you would crank down, you know, the the color or the color of this thing. You go maybe over two pencil and then you'd say, Give me a lighter pencil. I can select my brush size appear So this the first icon If I click it, by the way and it selected the little ah panel goes away. If I click it again then it comes back. I can set my pencil size. I can even do it in color. But what I would recommend is that you sketch in black and white. So here, picker, foreground color, double click on it. Set that to black and you're ready to start sketching now. Actually, got to bring down the the size on this to maybe something like, uh, SE six. Here we go. And then I can start sketching my little thing. Whatever. I'm going to sketch other options that you've got down here. Lighter pencil Here. We've got hardness so I can bring this this pencil down to make it very light. It almost looks gray. Um ah, the brush density. We can bring that down, and I get it even lighter. So there's all kinds of ways toe to reduce the lightness of the line. But I would go ahead and I would just do it in black. Do it in whatever the defaults are for your penance on, don't try to lower the lightness of it. Go ahead and draw as dark as you would like. So that was it. Even sketches dark as you want. And in the next lecture, we're gonna look at sketching techniques. I'll see you there 39. Erasing: in this lecture, we're going to review erasing one more time. So the eraser we've already covered it before. So this will just be a quick review. Let's draw a couple lines on here and I want to show you the kind of the two forms of a race that I use Actually, don't use the eraser much. I use undo and, ah, lassoing and deleting more. But the eraser can be kind of helpful. So here's the eraser tool down here. Where where do we have to go? There we go, The eraser. It's the only tool. So it's always gonna look like an eraser over here on the side. And we have two options. We have hard and soft and then a bunch of other ones that I don't really ah use. So let's ah, jack down the anti alias sing here you can see the hard eraser is going to actually remove whatever it is in the in its entirety, so it's going to completely remove it. I can control the brush size so I can make the erasers small to get into tight crevices and so on. The other eraser is the soft eraser, and it just softens and smooths things. So you can see if I if I run the eraser along the line, it doesn't completely remove it. It just fades it out. So that your two erasers So that was a racing in the next section. We're gonna look at last Sue selection, moving, rotating and deleting things. This is really helpful. 40. Lasso Selection, Moving, Rotating and Deleting: So in this section we're gonna talk about last suit selection and moving and rotating portions of your sketch and even deleting it. This is a way to modify your sketch so that you don't have to redraw certain elements that you want to change. Okay, so let's set this up. What I want to do is I'm gonna kind of draw ah, person. So let's ah, draw the torso of the person here and then get a couple arms sticking out. Got one arm sticking out in this direction and we have another arm sticking out in this direction and then we have ahead. There we go. And I look at this drawing and I go, Oh, you know, the head is too small. Maybe I put some detail into it and stuff. I've actually spent some time and I don't want to just erase it and replace the head. Let me show you what I can use. The marquee tool over here selects things and he have various ways to select things. I can do a rectangular selection. I can do an elliptical selection. And the one that I use the most is the last two selection, where you get to draw what you want the selection to be and close it. Now, Notice the marching ants around the selected area and what you can do is you could do things to the area that selected here. We can close the selection, which I've been doing. I can cropped the selection. I can expand the selection. I can delete stuff inside and outside the selected area. So here I can clear this stuff inside the selected area. Here's clearing outside the selected area. I can copy, I can paste, and then here is a really useful one. Scale up and scale down. Let me show you how I would use this. So let's say this arm over here is supposed to be sticking up in the air and waving and the head is too small. Well, I just use my last suit tool. I'd come in here and I would select the arm and then I would use this scale upscale down and rotate, and I get boxes here. Now this box will scale up and scale down so I can change the size of the thing. And I can actually not maintain the aspect resource. So I can change it to any size that I want. And then if I move inside, if I do something inside the aura click. If I click inside the box, then I'm moving the selection around. And then finally, if I move outside the box, I'm rotating so I can take this arm and I could go. There we go. I really wanted to have him waving instead, so we go, OK, and you put it there. I can cancel it by saying Cancel. Now let's get rid of that selection And then I go here and I last sue his head and I use this and I scale it up. So I want a bigger head, maybe bigger yet and put it in about there. And there we go. That's so that's using selection and then the selection options to modify your sketch. So that was selection and modifying your sketch pretty handy, huh? One of the big benefits of digital sketching. Now, in the next lecture, we're gonna look a de emphasizing your sketch layer in preparation for inking 41. Deemphasizing the Sketch Layer: in this lecture, we're going to de emphasize the sketch layer by turning it blue and turning down its opacity. This will make it easier to think over. Okay, so what we're going to do is let's say we've got a sketch and notice how it's very dark if I want to paint over this on another layer. So what I do here is I come over to my raster layer in which this sketch is done. I would add my vector layer up above, and I would start thinking over it. Now it's very difficult to think over a very dark image like this, so check this out. This is need rather than initially drawing in a light pencil or something, I could come up here. I can make it blue, or I could make it red. I can pick any color that I want basically here on layer color. So if you prefer a pinkish, you can do that. But by default, it's blue. And then I could come here and Aiken down the opacity to make it lighter. So now I have ah, very light sketch layer that I can easily ink over. So that was de emphasizing your sketch layer. In the next lecture, we're gonna look at using three D reference models. This is a really cool feature of clips Studio paid. I'll see in that lecture. 42. Sketching Section Workshop: in this lecture were doing the section workshop, and in this workshop I'm going to show our start a workshop project, a single file that I'm going to use over and over again for the rest of the sections in the workflow, so that you can see the same project being worked on and each phase. So here we go with a quick sketch demonstration. So what I thought I do for this workshop is since it's the first in the series of the workflow, all the way from sketching through production that I would create a single project and work on it as the workshop for each of the sections in the workflow said you get to see the entire workflow one step at a time. What? So here we're at the sketching step, and what I'd like to do is I'd like to create a new page, and I'm gonna go ahead and go with an illustration. This use of work option on the far left, the orange one, and I really like my 12 20 by 10 80. I think that's a nice size. It looks right for posting on, like Facebook and things like that. Yes, and I'm gonna flip. It's that it's oh, it's actually 1920 by 10 80 then it's Ah, 72 pp. I resolution color, white paper. And by the way, we've never really looked at templates here. When you select templates, you can actually carve up your comic page ahead of time. It's a it's not the way that I carve up comic pages. I usually do it manually myself, and do what I want that the frames to be and not just pick from standard frames. And that's all the options that you've got now. But I'm gonna go ahead and I'm going to create this and I've got a layer here that's called Layer One, and it's a raster, which is fine, and I'm going to click on it and then I'm gonna type sketching toe, identify. This is this sketching layer, and then I'm gonna begin to sketch. Now what I was thinking of what I would do is I wanted a project that was simple enough that I could get through it quickly. But it was complex enough that it would show all of the techniques that I'm talking about in this series of lectures so I'm going to do a pair. And when I think of a payer in basic shapes, I think first of a circle for the man body of the pair and then what I think of is an ellipse coming down into the pair. So a shape kind of like this. And then if I round these two shapes off, I come in from from this shape into this shape, bring it around like this, come in over like this, Then suddenly I'm beginning to get a pear shape. Now, maybe it'll be a little flatter on the bottom and not quite a perfect circle. I could decide that. And then up here there's gonna be a little stock that was a little large. Let's cut down the size of that. So a little stock appear sticking out with the branch that the pair grew on and then when I thought I would Dio is for the background, I just have a simple Grady int that, um that maybe fades from white to black, so it looks like it's on a tablecloth. And and speaking of, ah, highlighting in and coloring. We didn't speak of it, but I wanted to have, like a shadow being cast back here That fades out into the distance. So there you go. There's my sketch for a pair, and in the next section, we're going to ink this project. And actually, what I need to do is I'm gonna come up here and I'm gonna say file save as. And it's gonna come into my comics directory, and I'm gonna call it pair one dot Clip. And I'll load this clip file for you as a resource on this lecture so you can download it and see what I've done. In fact, I'll load all of the or the same clip file over and over again. So as it progresses, I'll try and name it. Ah, pair one pair too, so that you don't overland them as you download them. But I'll get you all of the stages of this workflow to draw a pair. Well, that was it. You saw me sketch a pair. I know it was pretty simple, but I thought it was well executed in the next lecture. I'm gonna ask you to sketch something. I recommend that you keep it equally simple. Unless you're really good. In that case, blow me away. Go ahead and export whatever you dio and uploaded to the Q and A section to yet kudos and recognition from your peers and me. I'll see you in the project. 43. Conclusion to Sketching Fundamentals: So that was it that was sketching. I hope you have a lot of fun with it. I find sketching to be very creative and liberating. So we looked at how to create your environment, your project, page and panel and how to organize layers. And then how to select what you want to sketch with. We looked at Sline sketching techniques and erasing and how you can modify your sketches without having to redraw them. And then how to de emphasize your sketch and throw it in the background. And finally we looked at three D reference models and how you can use those in your sketching in the workshop. I demonstrated all of this, and your project for this section is to go out and sketch a scene. This is the beginning of your course project that you're gonna be throwing together over the next few sections. And here we are in the conclusion up next is going to be the section on inking. I'll see you there 44. Using 3D Reference Models: Hi. In this lecture, we're going to talk about using three t three deposing figures to assist us in drawing figures that would be human figures. In this case, we've all seen them. In fact, let me go over to Amazon, and here we connects even example of a wooden posing figure. Artists use them to get poses and use that as a reference to draw from. And in fact, one of the most complicated aspects of drawing is getting hands right. You can see these. They're just muff any kind of hands here on the drawing figure. That's why you can actually buy left and right hands to pose the hands the way that you'd like before drawing them hands are very difficult to draw. I'm going to show you how in clips studio paint that you can actually set up digital versions of these posing dummies and either put them to the side and draw using them a za reference or draw directly over them. So let's get right to it. Here I am and clip studio paint. What I'm gonna do is I'm going to come up to file and I'm going to create a new image now. Right now, it doesn't matter what illustration were using. We'll just go with the standard illustration. Whatever size is fine. And the first thing that I always like to do whenever I get a sheet of papers go up to view fit to Navigator, which blows it up into the navigator screen size. Okay. Now, rather than just jumping into drawing, let's say we have a woman that we'd like to draw in a particular pose and from a particular angle. And we're trying to envision this in our head, and we might start drawing some pencil strokes. But first, this is what I propose. If you go over to the far right, this is the These are the tabs that control what shows up here in this panel. Now we've got it on the navigator panel Up on top. There is the layers panel where we can see what layers we have here. I am drawing on a raster layer. Don't worry about that for now. But then I can go down to this thing called materials. Now, this is interesting. These are all things that I can pull in either. As references order actually build my scene. and what were interested in for reference is the human figure. So if I open up the three D tab here on my materials, I can see that I have body type. Let's click on body type, and I have two options here for body type. I have a three D drawing doll for a male or a female. Let's use a female, and all I got to do is left. Click on it, drag it out onto the page and release. And here I have my drawing figure. Now, isn't this neat? Already, you're beginning to see the possibilities. I bet of drawing from this figure just like you would from a wooden mannequin. Now hold on to your hats because it gets really need. And I'm just gonna keep piling on the neatness here until you're totally overwhelmed and impressed. First, this is just a standard female figure. Now I can rotate around it. I can see the figure from various angles here just by grabbing anywhere outside the figure and pulling things around. I also have these controls up here that I'm gonna talk about it a bit, but first I want to talk about what you could do with the figure. If you don't want a standard figure, come down here and click on this. Adjust body shape and size. Now this is cool. Noticed. This square is right in the middle between slim and overweight and up and down, kid and sensual. I can make this woman more sensual. In other words, her breasts and so on get larger. So too, her legs. And by the way, if I pull down sensual on a male, they get very bulked up and very to testosterone e so I can go slim to make her very skinny . Or I can make her very overweight. So here's how I picked the body size. I could make it kid like, And then I can zoom in and out here with this bar. So isn't that cool? That's how you can create the mannequin of this shape that you like. And in fact it gets even better here on the end. I can adjust each of the bones. For instance, if the head length is not long enough, I can make her head longer. Notice how the head gets longer and shorter. As I pulled the style I can make her head wider. I can give her a gigantic head, basically on. I can go all the way down through. All these things are neck, her torso, her arms. I can change the length of any of those so I can make a mannequin for basically any body shape. And let's go look at the camera poses and how we can change this figure around these buttons. Up here in the upper left hand corner of the figure, the 1st 1 rotates where the camera looks. So if I go up to that button and I click and I start pulling around, it moves the camera angle. The second you can see up, down, left right. It moves the camera, and it's because the cameras in the middle of the icon, that's what it's talking about. Here, zoom the camera in and out. Now these control the object, so here I can move the object up and down, she goes down through the floor of I pull it down. I can rotate her forward and backward or to either side so I can pick any kind of angle or direction that I want to see her from now. Ready for the next cool feature of this notices. I scroll over the body, body parts become read these air parts at which I congrats the figure and I can adjust where that body part is and also notice that this program uses kinetic energy. In other words, if I pull in the arm, whole body gets pulled to, so the body reacts to what I'm doing to the pose. And if I want to move this arm down to, I can move that over here, I can have her bending forward. I'm gonna have her head up and looking at me somewhat in the body kind of moves to replicate that. Let's move her leg out. Let's see about bending her leg up in some interesting position now knows also, as I pick these things, this ah control mechanism shows up here. This is the bend of the knee because the knee only bends in one direction. If I pick an arm, I should get a control mechanism. Oh, here we go. Something that bends. There we go. I double click on here and once again, I'm getting the bend operation so you'll get these little globes that allow you to control , in which way, X, y and Z the joint changes. Now this is somewhat awkward pose that I've chosen, and it can take a while to get oppose. Exactly right. So here's the next neat feature opposing these three D figures. I can come down to poses, and under that I have entire body. Now, if I click on entire body, look at all of these poses that I have for her going down stairs, relaxing, walking. Here's thinking. Let's try that. And all I got to do is grab the pose and drag it over to the figure. And now she's thinking quickly, I can move directly to that pose and then I can modify it. I can pull her arms out on her shoulder over this way. Loosen her up a little bit. I can have her up and looking mawr at some figure. I can do anything that I want to this figure and then once again changed the position of the view. Now, because cans are so complicated, they actually have their own posing options. If I got a hand here and I see, let's get a dramatic hand here, I've got hand shaking and doing all kinds of things now. Notice also that there are tags for elements down here. If I go to hold, these are all the hand positions. They're holding something, okay, and I can un remove that. So as you see these tags down here is your picking body shapes and stuff. Consider clicking on them to reduce the number options you have down to a category, like holding positions and stuff. Now let's give her a flat hand, and we'll just drag that over to her hand and we'll release it now. Notice. Both hands went flat. That's that's interesting. That actually shouldn't have happened. Well, anyway, that's the way that you control the hand posture. Now, if you want to just do a hand, let's say you're just drawing a hand. Go ahead and pull the hand out, get it in some posture that you would like to get to that hand of. We just wanted to draw the hand. Or let's say we want to draw this open hand here. You just go ahead and zoom the camera in as close as you can, and then use these things to move the camera around until you have the hand in the position that you like and start drawing from it so I can use actual body parts as models. Let's go ahead and we'll move out to show the entire model here. There she is. And let's give her a more natural pose, shall we? For the entire body. Ah, we'll have her walking down the stairs. There we go. Now I pick a position that I'd like to see this subject rum and I go ahead and I zoom the camera in until she fills the frame. Now I want to show you some more neat tricks for setting up the model they have to do with these options over here. Now, if I pick this square box as my tool, this is the object Operation Tool and I select object. I can go over click on an object, which is her basically, and down here the tool property show up. Notice this, says three d drawing doll. It's really the only object on the plane, so I'm sure it's the only thing that ever shows up. Now, I don't know what these two options do, but check this out down here under three D drawing figure. Okay, I have kind of this flat, uninterested. Look at her from above. If I add perspective by pulling this dialogue, notice how the perspective on her changes. It makes the upper part larger and pulls back and makes the lower parts smaller. So you get really perspective. So there we have some perspective going on this character. Now, next, check this out. We go for the light source and say, Yeah, turn it on. Now we have a shaded figure. And if I open up the light source tab here by clicking on the little plus sign, I can actually change the source of my life so I can put her mostly in shadow. I can pull the light way over here to the side and lighter up. Really Well, now here's my posing figure. Once again, I get it in the middle and let's say this is what I want to draw. I just then go to my layers. Here I have my drawing dummy on a particular layer. I pull my pencil layer or my raster layer up above the drawing layer, and now anything that I draw will show up on top of this drawing dummy so I can draw along the edge and and get the idea of the drawing dummy and the shape of it as I pulled this pencil around and highlight her. And then I can wink the little I here and make the drawing dummy disappear and see what I'm drawing. Isn't this the ultimate way to draw? The other option that I've got, of course, is to move the drawing dummy out of the way and draw to her side, using her as a reference and not exactly trace. Now I can actually bring in multiple characters by just going back here again, picking a body type. Let's say this time of a male and pulling that male into here, I then go ahead and position this character. Let's say I don't want the arms up. Let's position the entire body with a nice walk so they're actually walking side by side. It looks like this person's a little shorter. Maybe I need to pull them up or something, and that's the way that you pose multiple figures. Now the final thing that I want to point out is that you can actually come into the materials and under three D figures. You have all kinds of small objects you can put in their hands. You have backgrounds that you can apply. But he also have actual characters here. They're kind of manga characters. You have six of them, and if you're happy with just six characters, you don't need to draw anything. And there we have three deposing figures, so let me go through and one more time. Highlight how to go ahead and use imposing figures. You begin by going to the materials is the bottom tab on the far right. And here you pick body type and pull in either a fee female or a male body, it will expand. The next thing that I would recommend doing is on a rough basis. Go ahead, grab, oppose for the entire body and the hands of those air. Important your scene. Here's a person being seized by the collar. That's kind of interesting. And then position your camera for what you would like. Zoom it in and out as you'd like to get the figure where you're like, go down to the three D drawing doll options and play with perspective to get what you want . Definitely turn on a light if shading and stuff is something that's important to you that you want to pull from your doll and manipulate the light source by hitting the plus here and changing that around. Once you have everything posed and you have your multiple figures in there, then it's time to draw. And that's what we'll be talking about in the next lecture. I'll see you there. 45. Introduction to Inking: in this section. We're going to cover Anqing, probably one of them more boring parts of the whole work process. Because all you're really doing is you're tracing your sketch. But there is some thoughts to dio, but there is some thought that goes into it. For instance, you have to decide what parts of your sketch to follow and what to ignore So you can modify your sketch. And this is where you get to draw beautiful lines and make your thinking look really good. So the first thing we're gonna look at his raster versus vector Anqing layers, I'm gonna tell you the difference between raster and Vector graphics and show you how to set up the layer of your choice. Then I'm gonna show you freehand inking techniques and then we're gonna cheat and want to use computer assistance to use the direct draw tools. Now, this is my actually my preferred way of banking. It's slower, but I find that it just produces beautiful lines, especially when using it with vector graphics. Then we're gonna look at how to simplify and smooth your vector lines. Now you can actually smooth your normal lines to a little bit, but you can definitely do more of that with vector lines and how to modify vector lines. So if you pull the line in the wrong direction, you can modify it and move it somewhere else rather than having to erase it and re dried, then erasing the draw throughs. So draw through is drawing over the line that where you want to end. You can easily nip off those little tales using the vector eraser. Then, in the Anqing workshop I demonstrate all these techniques and in the project I'm gonna have you ink your foreground of your coursework. So the illustration that you sketched in the previous section you're now going to ink This is your course project and we're gonna move it through sketching to thinking to painting and high shading and highlighting and then finally, production. Then we're going to review what we covered in the course and without further ado, The first lecture in this section is on raster versus Vector inking layers. I'll see you there 46. Raster vs Vector Inking Layers: in this lecture, we're gonna look at Raster versus Vector inking glares. I'm gonna show you the difference between a raster and vector layer. And then I'm gonna explain why vector layers air better for Anqing. So the difference between Vector and Raster layers first of all, I would use raster layers for everything. They're more efficient, they take up less. Resource is and you really don't need the power of vectors for most of your drawing. However, for inking, I would use vector lines and let me show you why here I've got a raster layers set up by default in this image. I'm going to go ahead and I'm going to create a vector layer by clicking on that above it. And you can see it has a little vector symbol on it. In fact, let's go ahead and will label this vector and will label this layer. Raster. There we go now on the raster layer. Let's draw a line. Let's make it fairly thick to I want to bring this up to maybe 12. That's good. And we'll draw a line. Now this line is just a bunch of pixels lit up. So this is just the line. It's a bunch of pixels and so on, and it just lays there and does its thing. Now let's go to the vector layer, and I'm gonna draw online here. Okay, let's go to my drawing tool. And I'm gonna set this my brush size once again that I didn't save. Bring that up to 12 and I will go ahead and I will draw a line. Now, notice how completely different these lines. Actually, they don't look different at all. But this time, if I come up to the object selection tool and I select this vector line, notice the difference on it. It has little dots on it. Now, with these little dots, are is there little points that I can use to manipulate the vector line so I can pull these dots in different directions to redirect my vector line. So as you're trying to get very accurate paint over years over your sketch, what I like is the ability to make mistakes. And then, rather than having to undo the line and redraw it, I just pull it and I move it to where I want Now. I can also come here to any point on the line. I can right click, and I could say Add a control point. And that gives me a new control point that I can drag around and to control the shape of the line. Here's another thing that I can do. I can come down to correct lines and I can say, Let's simplify this vector line And then I just paint over it and you noticed how many nodes there were in it. Quite a few, because I hand drew this and then I do that and it's simple. Finds it two straight. Boy, did that simplify that. Let's come back to object selection again. I click on it and it's a town to just two points that simplified. Ah lot. Now let's see if we can do we gonna undo this, and I'm going to come to my simplify tool, and I'm gonna set it down to the minimum simplification. That simplification was just a little intense, and we'll just try and simplify. Now the line looks the same, but if I come back to object and I click on it, you can see that there are fewer nodes on it now, so I can simplify and smooth out lines. Specter lines. I can move them around. I can, uh, change where they connect. I can completely manipulate a vector line. I can't do that with a raster line. So that's the reason that I suggest that you use vector lines for your thinking so that you can think over things. In fact, let's Inc over this line here, Uh, and when I prefer in inking as opposed to hand drawing is to come to here and use a continuous line and let's set Yeah, the thing is 12 that's good. And then I just click at the beginning and I look at the end and actually, I double click. There we go. And there I have just inked over that line. I can do curves. I use curves a lot So that, uh, actually let me undo that What you dio Whoa! I cleared You do that and Len do that, Okay, you dragged the curve and then I can curve it out in various ways. I love the continuous line here. Let's think over this thing. In fact, let's ANC over it and reds that you can see my Anqing so I come here, Go down here and I'm coming up here when I come around in this direction and up in this direction and I curve it out more and down here and then come up here with the skirt and curve that out, run it down this area, running around the side and down like this. Now notice that I have some errors in my Anqing. But what I can do is come here to select object. Select that and look at my points and I could go. You know, I need a point here. Let's add a control point. There we go. Let's add a control point and let's pull this in so that it takes that corner a a little better. In fact, we need another one here to really make it. Take that corner better. Here we go. This needs to be out just a little bit more. This needs to be more up in this region, Chad. Even more, this needs to be down just a little. So after I draw my lines, I can go and I can fix thm way go something like that, and that's a pretty good thinking over that line. So use vector lines for your ranking is my point. So that was it. A quick overview of vector layers. Aren't they hate? Cool. I think it's one of the primary benefits of digital drawing. In the next lecture, we're gonna look a free hand inking techniques. I'll see you there. 47. Direct Draw Tools: in this lecture, we're going to look at how to use the direct draw tools for simple and clean inking. This is my preferred method of Lee thinking, because I don't try very well. And if you don't draw very well yet you really want precise lines and you want to do it quickly. Then you'll learn how in this set of lectures, so to get to the direct draw tools, what we do is we come down here and click on this little icon. Now the direct raw tools also has frame ruler stream and saturation in it. So you have to look for any of these high contents, unfortunately, as five different things crammed into it. So let's go to the direct draw and notice that we have options for drawing a straight line a curve. Ah, Polly line a continuous line we can fill, alas. Ooh! And we could draw a rectangle on the lips or a polygon. So all of these things are simple shapes that we can draw. But actually the continuous line. It's not all that simple. Let's begin with a straight line and let's set the brush size to about six. So to use the straight line to all you do is you pick where you want it to start. Hold the mouse down after you click, and then release the mouse where you want it to end. And it draws a straight line. Pretty simple. The curve is interesting. Okay, The curve tool works similarly. You pull it toe where you want it and release. But now, at this point, you have to click again. Because as you move back, you can control the curves so I can control whether it's gonna occur more appear or Maura at this end, or curve it in the middle by clicking there. And I can make things like eyes right left to right there and then curve it like that. So that's the curve tool. You you do three clicks for that one. The poly line is you just make line shapes like this and you can close it now. The continuous line is one of my favorites. I use continuous line curve and straight line rectangle. Any lips all the time. I don't use the poly line or the polygon. Um, let me show you the, uh or the last suit. Phil, let me show you the continuous line, and once again we gotta bring the fought down to five or six. So to use this line, you click where you want to start, and you pull a line and notice as you draw it. It's kind of like the poly line that it draws wherever you pull it. So I use this to surround shapes, and then you double click with me where you want to end it, but you keep clicking wherever you want to put it. The rectangle allows you to pull a rectangle, and you can pull it any shape you want. Unless you say aspect, type and you click that and you can make a fixed aspect ratio. So I always pull a perfect square here. In this case, the Ellipse pulls any lips. And here, if I have the aspect, ratio, said, it pulls a perfect circle. If I o. Now, what it's doing is it wants me to click again to set its rotation, and that's because I've got this little thing check. So if I pull something like a route, OK, let me ah, get rid of the aspect or issue so I can see you can see this rotating if I So let's see. I want the aspect type to not be circular there, Leo. Now I can pull things like that and I can rotate it now and I click another time to said it . So click and hold down, drag out whatever I want my lips to be and then move it around and click a final time. And that sets it Now. That's if I have a just angle after fixed so I can get rid of that. You can see that the line with has this standard brush with an anti alias ing and a brush type is gonna be solid. Neopets pace. It is gonna be zero now. The other option you have is to fill it. So this should fill. Yeah, it's gonna fill with the foreground. So I do like that and it makes it a fill. And the other option is to draw a line and do a fill. In this case, it's gonna draw the line with the, um, color black, and it's gonna fill with the background color off white. So let's go back to drawing a line here now, So let me show you how I would use this by getting rid of this. Okay, I now have a raster layer. Now let's say I come up here to my pencil and I'm sketching away. I want to draw ah heart. So I have it come down here to appoint do a very rough sketch, come up and around down to here. So this is my sketch. Now. What I do is I color it blue and bring down its opacity so that it's not too strong, something like that. And I use that in the background as my sketch. And let's say I want to think that Okay, I would add, Ah, vector layer. And on this vector layer, I'm going to use a continuous line. So let's use the direct draw tools to think this so I'll go to continuous line. Pull this line down toe four. There we go. Now I'm going to start here and all I do is I click release Pull the line, click again where I'd like the next point. Then I pulled him line again and notice how it starts to curve. Click, click, click, click Now down here is straight to the end. Click appear click, click, Click. Let's bring this in a little smoother click, click and click and there I've completed the line. Now the other thing I want to do is I want to draw an arrow through here. And rather than using direct draw tools, I'm going to show you that you can use vector lines just drawing lines. So I'm gonna have an arrow coming here with maybe some Ah, what are they? The feathers, The quills coming out at the end. So I draw this, and my Anqing is fairly atrocious, and it comes out the back end and to a arrowhead. So I get something like that now, in future, lectures were going to go and look at how to improve these lines. So that was it. The direct draw tools. In the next lecture, we're gonna look at simplifying and smoothing vector lines 48. Simplifying and Smoothing Vector Lines: in this lecture, we're gonna look at simplifying and smoothing vector lines. Now this is primarily needed when you hand draw vector lines and they get rather bumpy and squiggly and they have they end up with a lot of vector points in them, so you can simplify them and smooth them and then control them back in. It's gonna move your point somewhat, control the back into where you want them. So the first thing that I want to do is I want to smooth out my drawn line, and we can do a lot of correction tow lines, vector lines with the correct line tool. Now I come down here and I say, and I click on Simplify Vector Line and I go over this. I just highlight what I want it to simplify and notice. It's taken and made the lines straight, and it's made my quills straight instead of this curvy line that they used to have in there . But before I do this, let me show you with the object tool. We're gonna pick it. Look at how many points there are in here. That's a lot of points toe have to manipulate and stuff it's very complex. Now let's take the simplification line again, and we'll draw over all this to tell it what to simplify. There we go. It's greatly simplified now. One of the things that happens is simplifying will actually modify the shape of your line. You can see it's made it straight, but let's go back to the selection tool. And now, when I select notice it's cut two points. It's got one at the beginning and one at the end, each of these lines of the same, it's reduced them to two points. It figured out I was trying to draw a straight line. This it reduced to just four points. So simplifying and straight ing Glines is very important. When you hand draw vector lines, it's something that you might want to consider, but realize that will kind of redraw and move your line. You can see that it hit one of the points on my heart here and moved it just a little bit out of position. So that was it. Smoothing vector lines. Now, in the next lecture, we're gonna look at modifying vector lines, so if you put them in the wrong place, I'll show you how to put them in the correct place. 49. Modifying Vector Lines: in this lecture, we're gonna look at modifying vector lines or correcting any heirs you did during your inking work. Now, the next thing I want to look at is I want to look at modifying vector lines and there's two modifications that I really want to make to this. First we come up here once again to select object and I select this object and notice that it removed a point here in simplifying this line and turning this into a straight line and also noticed that I got these curves here where it shouldn't be curved. Let's fix the curves. I can select a point and it becomes purple. And then I right click on the point and notice switch corner. Now this will switch the corner from a curve to an angle like that. So it'll, uh, may get me my point. I can come down here, select this point and then switch corner. Now, the other thing that I could dio is I can pull these points around, so pulling it down here will make this line much smoother. Let me see. I wanna pull this out in this direction. It's that I follow my Anqing line more so I can pull this around. Another thing that I can do is I lost a point here. I can go onto the line, right click and say Add control point and I can now pull this control point out. Let's say I need now. I guess I don't need that there and need to pull this in a little bit more. Same with this. Get this all a lot more proportional. So this is how you modify vector lines. I can pull any of these points around anywhere that I want and I can add points by going onto the line, right, clicking and saying Add control point. I can also delete a control point and I can switch corners from pointed to rounded. So that was it. Correcting vector lines in the next lecture. This is really cool. We're gonna look at varying line thickness. 50. Varying Line Thickness: in this lecture, we're gonna look at varying line thickness or how to modify your line quality. This way it won't look like it's mechanically drawn. If your lines have varying thicknesses, you can also bring emphasis darker, thicker lines bring emphasis and draw the eye as opposed to thinner lines. You can also use it for shading or highlighting on the highlighted side. Used dinner lines on the ah shaded side used thicker lines. The next thing that I want to show you this is really cool. It's varying line thickness, so it's It's usually called line quality, and what it has to do is that you want thinner lines on one side than on the other. You don't want to have the same thickness. It looks like it's mechanically drawn, which these are. But we can vary that. And once again we come down to correct line and notice. We have correct line with now. What I like to do is you can thicken or thin the line, so I like to get a fairly fat brush going here. Here's your brush size. This is 60 and then just zoom across like that. Notice how the line got thicker in that area so we can make this part of the line thicker. And then we can go to thin line and we can maybe take down this a little bit. Do something like that. You can also draw over the entire thing, and you could do the same thing. So this is the way to vary your thickness so that you get some interesting variation and line quality things. You gonna show shadows and darkness or lightness in your lines by varying the thickness. Well, that was at varying line thickness. In the next lecture, we don't learn another really cool feature, and that is using the vector eraser to a ratio draw through lines. 51. Erasing Vector Layer Draw Throughs: in this lecture, we're gonna learn how to use the vector Racer to remove your draw through lines or how to clean up your quick drawing work and get it really snappy. The final thing that I want to show you is let's some zoom out here and I want to clear this. Then I'm gonna center on this screen, and I don't particularly need to see that anymore. So wink that out. I just need a vector layer and what I'm gonna dio is I'm just going to take a pen and I'm gonna quickly draw a square just by pulling these lines. And this is what you you typically do when you're drawing is that you overshoot. It's called Draw Through and it allows you to create right, draw faster and make smooth lines a little mind word all that smooth where they now, the next thing that you dio is you come down to the eraser. This is what tip Typically people dio they get eraser and they come down and they go, OK, let's erase that to where the connection was. It got to be real precise on this corner and make sure you don't erase into it. They do something like that. Ah, in well, in the analog world, if you're drawing for real and in some graphics applications. But notice this. This is really cool. It's called the Vector Racer. Actually, I was using the Vector Racer. So what I can do is I can just, uh, go over a line like that. I just go through it. That zip, is it. And it removes all the lines automatically for me. Now, it only does this on vectors. So used the vector eraser rather the hard or soft or rough it to remove draw throughs on using factor lines. So that was it. That was using the vector razor. Isn't that totally cool? It'll save you a lot of time. And in the next section we have the Anqing Workshop where I'm gonna show you how I use all these tools to ink my course project. I'll see there 52. Inking Section Workshop: in this lecture, we're going to discuss the Anqing stage of the illustration workflow. And I think you're gonna be quite impressed by the results that you'll get from my mouse based direct line drawing inking process, as opposed to actually using a pen, a stylist and doing your own Anqing. Anyway, I'm gonna present it. You can accept it or not. It may be slower and maybe faster than traditional inking. Or you may just love traditional linking and you're really good at drawing. I'm not really good at drawing, so this is the way that I ANC Now I'm ready to ANC. But before I do Inc. One of the things that they didn't point out is that you in the last workshop is that you have the option to clean this up a little bit. You notice all of these lines in here are not actually part of the pair and that this goes out a little wide as to the area that I picked to ink the pair, probably I'm going to go right in through this area. So to do that, what I'm going to do is I mean, I actually come up to the sketching layer here and I'm going to right click and I'm going to say duplicate layer and I get copy of sketching layer and then I can wink out the original sketching layer so we can keep it around. Now I'm going to come here to the eraser tool, and I'm going to use the hard eraser and size of 50 Sounds good. Full hardness, minimal anti alias ing minimal stabilization. And I'm going to come in to the inside and start erasing the lines that I don't want. Here we go. And as I do this now, you see, it's not really necessary for me to ANC. I just thought I'd show you how you can kind of turn this sketch into looking a little cleaner. You don't have toe show the architecture and how it Oh, that was a bad 10 by the way, now when I undo everything that I did gets undone because I never released my pen. So, uh, okay, actually, that was bad. So let's undo that and I'm going to come right in about here. That's where I want to hit. That's That was good. So let's release. I don't really sold this down here, I'll start getting in closer, and then I'll release because this is where I'm most likely to mess things up. Isn't cleaning up this very edge right there? And I could take out this outer set of lines but no longer apply. I'm thinking of coming in kind of in this area. So we bring it around to this side like that, clean up the lines, and here you have a better idea of what I had in mind. Four. My pair sketch. Here you go. So your choice, this one or the original, you can ANC over either one of them. I'm going to use this one, and I'm gonna create a layer above it, which is a vector layer instead of a raster layer. And I'm going to name it, double click on it and name it Inking, press, enter. And on that inking layer, I'm going to come down not to the pen Teoh Inc over it, but to the direct draw tools. Now, hopefully this will be as impressive is it was the last time I did it when it looked pretty good. So I pick my continuous line tool and I'm using this plein to pull a line. My brush size. I just said it to 12. It's going to vary in size. The opacity is 100%. I have minimal anti alias ing, and it's just a solid line. So what I dio is I begin at the top and I click about where I'd like the top of the payer to be. And then I pull over here to about the middle of the angle of this side of the pair and I come down and maybe clicking here and over here, the shape is going to start coming out. This doesn't have to be perfect, you know, nature isn't perfect, but, um, try and get pretty close to something. I'm gonna put a little bump by doing some lines close together out here, and then I'll start drawing them further apart and coming in like this. Now, I don't know how fast you would Inc with a pen, but I thought that was pretty fast and it connects now. If it did this with a pen, you'd look at this object and it would have just tons of nodes. You saw how many notes it as I actually put them in. So if I say click on object, See, it has very few nodes, and that means that I can take each of these knows, Like here ago, that didn't quite come out far enough. Let's let's pull it out this way a little. Oh, that needs to beat out. Just just the tiniest amount. Oh, this came in too far here. I'd like it to be more shaped like that. Oh, the bumpiness. That's that's good. Actually, I like that. So I like this shape and I can modify it to be this shape. Now, the next thing I'm gonna dio is I'm gonna come and do the same thing. I'm gonna pull a continuous line from here, uh, to catch the angle of the stem, come up here and then I'll come down here. Don't worry about it. Kind of being rounded where we don't want it to be rounded. Fact, don't even really worry much about this shape. Do it faster than I'm doing. And then a double click. By the way, I'm doing all this with a mouse. That's the easiest way I found the ANC. I prefer it to the pen and use the best tools you got. Now, what I'm gonna do is I'm gonna zoom in on this shape here, and I'm going to grab the object tool and click on it said, I can see it's nodes and OK, that's pretty good. This is a little hanky. And this what I'd like is for this right click on it and say, Switch corner to more of an angular corner. The same with this corner. Let's, Ah, switch corner. And they're now we get more of a square corner. That's kind of what I want. And let's pull this in just a little bit. There we go. That's about the perfect line. So let's zoom back out. And here is my pair. Now. How good does it look? Well, you can find out by turning off your sketching layer and going, Yeah, that looks like a pair, but, you know, it looks like a computer generated pair. All the lines of the same with there isn't any stubby nous or any riel drawing airs. This was obviously pulled. Well, get ready to correct that. What we're gonna do is come down to the line or the correct line tool. It's the one down to the very bottom before the Ford and Front before the four foreground and background colors and I'm gonna I've got it all set up the way that I like it It's it thins the witness of the line by one pixel every time it passes and it does the same for thin it thickening. So I like to do it really slow. I'm gonna start with thick thinning and it's got a brush size of 60. So pretty substantial brush size there. Now check this out. This is called line quality typically, and it has to do with how thick and thin your lines are. So I'm gonna get a big brush here and I'm gonna draw down through here. And those just this line just got thinner by one pixel and thinner again. So one of the things I like to dio it's actually thickening it. Let's undo that all the way. Yeah, it is. It's thickening it. I don't want to do that on this. Ah, well, OK, and I want to redo that. There we go pick. Then I want to thin the thing by one pixel. So let's take down this side which is gonna be the side with the light source, and then the other side is going to be more in shadow and I just pull along it. Maybe I pull a little less far that time pull around in here. I could go like this to hit various regions. Let's really thin it out up in here. Go about as thin as we can go. And I don't mind thinning this either Up in this area, I'm gonna thin this line substantially. Um, something like that. Ah, see? And then I thin too far, right? I can undo. There we go. But I can also take and go Oh, you know, like that to actually come up just a little bit. There we go. So I'm going to thicken that line and then, um let me see. Well, I'm thickening lines. Let's thicken up this side, huh? What do you thank? This could be thicker. It's going to be the shadowed side, but I really need to start thinning this more around here. I'd like this to be much thinner, so I'll draw over that several times. There we go. Now we're getting down to the thinness that I'd like and I'd like this to be maybe a normal thickness and then come up into this thickness on the side. I'd like that to be maybe down just a tad. Same with appear one more time, Hit it one more time. Ah, and then I want to thicken up. Hit this too hard. Here. There we go, on a thicken up on this side It that a little too hard. Ah, and that looks pretty darn good. So that's the inking job. And that's about all that we have to dio This doesn't look machine generated. Noticed that by thickening and thinning to you got a little bit of Jaggi nous in the drawing. It's now possible that somebody drew this by hand and they probably went over this many times with the pen to thicken it up, or they pushed down really hard with their pen and ended their tablet. But I did this all with a mouse. Now you can see why I'm saying that a tablet is kind of optional because if I can draw something like this, I'm sorry. Let's go back to the original draw something like this with a mouse, which I think I can. You can get a very close approximation to what you need, close enough that you can then pull ANC over the top of it and come out with extremely realistic looking inking jobs. I'm gonna go ahead and save this file. Save Saul set up to go, and that's how you ink. And that was it. I think the results look pretty good, and they didn't look computer generated. It looked like natural drawing. You can thicken it and and thin it to you to your heart's content. That's a carpet irregular style in black and white, just thickening and thinning lines to get shadow and light in and showed dimensionality. So that's it. And the next project is for you to take your own foreground work. 53. Conclusion to Inking: So that was it. The section on inking. What do you think? Raster versus vector. You get to choose FREEHAND versus direct tools you get to choose. Then we covered simplifying and smoothing lines to get really beautiful lines after you drawn them. And how to modify your vector lines if you don't like where they went, how did remove your draw? Through is very easily with vector lines and the vector eraser. And in the workshop I demonstrated all of this. Now it's up to you to do the project and toe Thank your coursework. And coming up in the next section is an intermission where I'm going to beg you for review , and then we're going to continue on with the rest of the illustration workflow, so I'll see you there. 54. Introduction to Color Flatting: in this section, we're going to look a color flattening, which is a strange expression for how you put just solid colors. This is just dumping a background color into sections of your image. So you want to get the color to be close. We're going to really refine the color and how everything looks in shading and highlighting , which is coming up next. But this is just to get the basic color down, so we're gonna look at how to create covered in layers. Once again, we're working with layers and how to organize them and where to position them. We're gonna look at auto selecting regions, although it's not explicitly needed to use the bucket fill tool, which is the next thing we're gonna look at. All you got to do is an end in an area that has a continuous color surrounded by lines is click with the bucket filled tool and it will put a solid color there. Then I'm going to demonstrate everything in the workshop and leave it up to you to color flat your work. That's right. Your course project is going to be basically colored, and I'd like to see you submit that to the Q and a section of the course, and we'll have a conclusion where will rerun through all of this stuff? So without further ado, let's look at the first lecture in this section on creating color layers. I'll see you there. 55. Creating Color Layers: in this lecture, we're going to talk about creating color layers in preparation for color flattening. So what I'm gonna do is create a new project. It's come up here and say new. I like this 1920 with by 1200 tall by 72 b p I. It fits the screen really nice, and it's an illustration. So I'm choosing this far left, the orange box appears my style, and up comes the illustration, and it gives me a background white paper page and a transparent raster layer. Now, on that raster layer, I'm going to go ahead and pull a rectangle it We're gonna pretend that's my Anqing layer. Now, this should be a really short chapter because all that I want to point out is that for your stinking layer, make sure you make a raster layer and not a vector layer. It's gonna be a lot more efficient to take up a lot less resource is, and you don't need to move your paint around and rearrange the way that you do lines. And once you create the layer, then go ahead and move it down below your pen layer. So let's go here and we'll label this our pen layer and we'll go to hear, double click on this name and will label this our paint layer. So that's it. That's all you need to do. To set up your layers is to create a raster layer and have it below your pen layer because we want the lines of the penned overlay. Any pain overrun that occurs well, that was it. And up next is the lecture on autos selecting regions. I'll see you there. 56. Autoselecting Regions: in this lecture, we're gonna talk about auto selecting regions. Now, this is not explicitly required for bucket, fill, bucket fill kind of doesn't auto select NFL is you're going to see in the next lecture. But what? I needed a place to put it. And this is the place. Auto selecting is very useful. It allows you to restrict what you're doing to a specific area. So let's take a look at this. So here I am in clips, studio paint, and what I'm going to do is just create a new page. And I'm going with the 1920 by 1200 by 72 d. P. I and will say, go ahead and do that. This fits nicely on the screen. What I want to do is to show you the auto select tool here. It looks like a magic wand, but I want to show you all of its complexities and it gets a little complex. So let me first draw shapes that I can show you selection within this shape, and I'm just gonna draw this out, and I want to have a little skinny area here, and then I want to have this not close. Now What I do is I go here and I click on the little magic wand and notice all the selections that it's got first follow adjacent pixels. Well, actually, let's not do that yet. Let's let's do this. All I got to do is click somewhere and it, and it selects the adjacent pixels that are of the same color. Now this is actually transparent back here, but that's considered a color, and black is considered color. Now let's go here, and I'll click in this area and notice the marching ants. This surrounds everything that's gotten selected, and it's going all the way around the screen and around the black area. So it's selected all of the white area, and the reason is is because it's got this gap here. So the selection went right out the gap, but it's selected all the white area now. That's what the close gap here is. If I crank up the close gap to the highest, and actually you could go even higher. This is 20 pixel, 20 pixel. Gap and Aiken type the size of the gap that I wanted to close. Now I come up here and I say Selection de Select and I click inside the shape begin. No, it's actually done it again. So we've got to crank this up even higher. Let's go up to 30 pixels and then I'm going to select D Select again and I'll click in here . There we go. Now notice that our selection got cut off here. So what it does is it selects all adjacent pixels, but it closes any gap that's smaller or equal to 30 pixels, which is what this is. But we now have another problem. Look, that our selection got closed by this little skinny gap here. Now the way to solve that is that I can add to my selection notice. If I pulled this down, I could see that selecting new is what I've got. But I can do select additionally. And then I just click over here and that gets added to the selection because it goes up to the gap and it adds the rest. Now the other way to do that, let's Steve I can undo that I can and do that is to just hold down the shift key. So let's go back to select New and ah hold down the shift key. This is the way toe add to a selection, and it adds it. So now that we have a selection, look, you get this little bar and you can do things with it like I can de select that will get rid of the bar and everything. So I do that and then I can crop it to the selection, crops everything down. I can invert the selection, so notice it selected everything inside now. And if I insert invert the selection, it's now selecting everything on the screen, including the black line up to the inside that I usedto have selected Ellen that word that again I can expand the selection area. So right now, let's expand this by five pixels. Now notice the selection is going five pixels into our black line. I can shrink the selection. I can clear what's in the selection, and then we'll actually clear part of my black line here Now. It made it larger. I can clear outside of the selection, so everything that's not selected here we have a copy and paste. I don't really use that a lot, and this is neat. I can scale up the selection. So let's actually select something. Let's select the black area instead. So I'm on the selection. Let's de select and I'm gonna select the black area. It's actually not. It's closing gap too high. So let's de select that and I'll select the whole black area. Now I can show you the scale up and scale down. You get the little scaling things here, and I could change the shape of my shape. I can scale it up. I can bring it over and scrunch it. I can change its height and so on, and I'm gonna cancel that. I can also rotate it. Okay, I should show you that if you get outside the box notice you get this little two way arrow . This allows me to rotate the selection that I've got. It's cancel that then Aiken Bucket. Fill it. Um, so I can I can dump in black into my so it's already black. Let's pick in a different color. Let's pick red, and I can dump that in here. Now. I don't really need to do that. The dump, the bucket tool actually kind of doesn't auto selection for you, and then it dumps, so you don't need to do selection before dumping. Let's undo that, Um, and then I can do a new tone and so on. So these are all of the things that I can do. And whenever I'm done, I can just say De select. Now let me look. Show you Some of the other options follow adjacent pixels. Now, if I say right now, we've got the, uh, let's move the close gap up quite high. So now when I select oh, it's still isn't high enough. That's right. Let's get this up to 30. The close gap and I will selection De select and clicking here again. Now I've got a selection and let's shift and click over years. So I get this part of the selection to now notice if I select if I d select, follow adjacent pixels and then I click in here. Let's de select click in here and notice it's selected everything again because it's not going by adjacent pixels. It will actually jump over this black line. So this was closed. Doesn't matter what my gap closing is. It's going to select everything that's white on the screen, everything that's the color actually transparent on the screen, because that's what I clicked on a transparent color. So it matches the color. And speaking of matching the color, here's your color margin. So let's try this. Let's try laying down some, Okay, we got black. Let's try something a little grayish. So we'll, uh, we'll lay down a line with some gray and then I'll come here and we'll make it lighter. Yet up in this area, I'll say, Okay, and I'll draw a lighter grey line and then will come appear. I'll draw uneven, lighter gray line. And then there's white. So I'm going to de select what I've got selected. Now check out this, uh, on the selection, the color margin. Now, if I pick black, Okay, I've got my gap set up again. That's Ah, messing me up. Let's get the gap down here and I select black. It only selects the black. Now I move the color margin up a little. This is how similar the colors need to be toe black. Uh, still Onley selected. The black will move it up just a little bit more and de select, it's oh, it's. That's because it's follower. Continue adjacent. Okay, let me get rid of that because they aren't adjacent thes colors. Now, if I click black look, it also got this dark gray because I pulled up the color margin. It's within 30 ticks of being close to black. If I bring it up even more, let's de select and will select the black. Now look, it's gotten the slightly darker, uh, gray, but it hasn't gotten this Laker. So play with the color margin. If you have many colors that are very similar and you want to select them, all, the magic selection one will actually or Auto Select will actually get them all. So that's the primary functions that I use here is set this to 10. You can click on the number of just type if you want to get something exact, close gap and so on. And once again here I can save what I'm doing by double clicking the little wrench. And that's the auto selection tool. So if you ever want to select an area, just click on the area and you can mess with close gap and color margin and follow adjacent to make sure that you get the selection now, you don't explicitly need this to do the bucket fill tool, but the options are similar to Bucket Phil and I needed to put this information somewhere. This is really useful. So that's the auto select that was on a selection. You can see how that's going to be useful for you in the next lecture. We're going to cover using the bucket fill tool to do color flat ing. I'll see you there. 57. Using the Bucket Fill Tool: in this lecture, we're gonna look at the use of the bucket fill tool, which is just a logical follow on to the auto select tool, since they work similarly and this is going to be used to fill a region with paint or two color flat. So let's get started. One thing that I failed to mention the last lecture is the whole point of why you want a selection. So I decided to throw it into the front of this selection. Since it is very related, it's going to be the same for the paint tool. The paint bucket looks like this. And so we're gonna go back to the Magic One selection, and I want to select this area Lips. Let's undo that and then set are closed gap to 30 so we can close that gap and then select this area up front and hold shift and slick that area in the back. Now the reason to have a selection like this is that notice. Now I can come down here to my drawing tools and everything that I do on Lee takes effect within the selection, not outside of the selection. So that's why I say that selection is a way to restrict where your art goes, So that's the reason for selection now. That's also why I say the bucket fill tool kind of does a selection and then it. But bucket fills and then it doesn't UN selection. That's that's kind of what the effect is. So let's undo this and then, oh, actually, check this out. Let's redo that. We'll get that in here and I can clear the inside of the selection so I can get rid of those red lines. There we go. I don't have to do and dio And then let's get rid of that selection. Now I want to go over to the bucket fill tool, right? It looks like a bucket being tipped with paint coming out of it. And look follow a Jason pixel close gap color margin. All the same stuff. Here I am. I'm gonna go over here, and if I set my we know we need a gap close gap of 30. Let's set that I can dump here then and I could dump here, and I automatically get the color so it replaces whatever colors there and follows that color for adjacent pixels. Unless you take this off and then it'll just color all the pixels of that color. Oh, it's it's coloring all of red. Okay, so let's undo, undo, undo. There we go. And then if I dump in here, notice it covers all the white cause. It's actually jumping across the black line because I don't have followed Jason pixels. So that's the closing the gap. The color margin is once again how close the color is for it to select it. But one of the things that we're doing here is we're working on a single layer. Remember, we want This is our inking layer, so we want our inking a layer, and then we want to create a new raster layer, and we want to move it down below our ranking layer. Right now, let's go ahead, and what we'll do is we'll dump this with the 30 weight in there on our color layer in between the, uh, in the side of our shape and look what happens. What happened? Look, our gap closing is 30. The problem is is that it's not looking at this layer. It's looking only at this layer, and it's saying, Hey, everything is white. Let's fill it all now How do you get it to look at the other layer? Well, notice up here. Refer all layers now. What it will do is it will refer to so do that referred to the layer above. So it will hopes our gap is closed to get We got to set the gap for, for both the tools. So let's set our gap 2 30 It lost that. And then let's save this and we'll go ahead and dump in here and now it works because it's referencing the other layer. So this is the way Well, it's not. Actually, there's gonna be one other way toe work within the Anqing layer, and that is known as a reference layer, and we're not going to run into that until the next section on coloring, highlighting and shading. So for now, that's the bucket fill tool. Okay, this is one of the options to when he have anti alias ing on on drawing your lines. You can sometimes get some grey pixels around the black, and it it's actually doing any only saying it slowly, gently fading in tow. The black What you can do is you could say, go halfway to the vector line and let's undo thes fills. And with that whoa now the gaps a lot larger. It didn't find a vector line, but when you ink with vector lines that it's gonna be very handy to say, stop filling at the center of the vector line. That way it will fill half way through your thinking line, and if you have any grey pixels of the edge, it'll color right through them. OK, now one of the things that I noticed, Um, I kind of have this layer down here and then multiple reference. You gotta have this little box checked. Otherwise you could get very lost. So there it's actually following the multiple references. I opted to 50. It's interesting that made it through that gap, but anyway, that's the bucket fill and which could be undone. And that's the way that you set down your base colors. So you have ah, bunch of areas. Let's set the background to green. I only have two areas I have inside this shape, and I have outside the shape. What you do is you set colors that air close you know, like skin tones. Let's go in grab skin tone for inside the red That would probably be appear in the pinkish zone. Maybe not that bright to be duller. Whiter? Uh, no. S