Coloring comics in Clip Studio Paint | J.R. Ballistic | Skillshare

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Coloring comics in Clip Studio Paint

teacher avatar J.R. Ballistic, Graphic designer, Adobe Artist

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

7 Lessons (56m)
    • 1. Intro to color comics course

      1:07
    • 2. Simple Color tools

      6:27
    • 3. Layer flats

      19:27
    • 4. Coloring Background & Objects

      11:27
    • 5. Shadow detail

      12:50
    • 6. Saving your work

      4:20
    • 7. Conclusion & Final thoughts

      0:38
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About This Class

Hi, I'm J.D.R, In this class, I teach the basics of coloring comic designs easily with simple mechanics, we touch on topics such as Basic color Tools, Shading, Editing features, Save options, and Quick tool methods.

It is a simple class that helps get first-time Clip studio paint users on the right track for designing such comics and illustration ideas. 

Before taking this class I recommend that you take the previous class for sketching and Illustrating comics that I have prepared to wrap around to this class so I highly encourage you to watch the part 1 series of this 2 part comic exercise before taking this class.

Have fun at it and keep up your comic booking talents!

- J.D.R

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J.R. Ballistic

Graphic designer, Adobe Artist

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Transcripts

1. Intro to color comics course: Hey guys, I'm back. I welcome you to my newest and latest class on coloring, your comic book designs and illustrations. Here I will be discussing the different strategies that you'll need and the basic coloring your comic signs in Clips Studio, all you can teach you the different tools that you will need to use. And this process of coding and design. You'll also learn within discourse and how to separate your coloring layers, as well as you will also be shown how to add effects. This is a part 2 session of my inking with comic illustrations in Clip Studio, which is a part one of my video training series of this entire course. If you haven't already done so, feel free to go back and check that out. I highly recommend that before you start on this course, I'm excited to offer you this brand new opportunity to show you all what I know and Clip Studio. So I am hopeful that it will get lot Dawn from taking this class. And I would recommend that you check out the part 1 first before getting started on this one. So now let's begin. 2. Simple Color tools: Welcome everyone. Here in this video we're going to learn the basic tools and what layers to set up our colors and our reference layers. Now let's begin. So what we're going to be using is the fill bucket tool and the airbrush tool for our video today, which are the only tools that some people like to use. All I particularly liked to use them a lot. Very easy to learn, very easy to catch on. And basically the airbrush tool is usually used for adding highlights or shadows details to your drawings, which really makes it stand out. And the fill bucket tool basically is for selecting those individual layers. As you can see there. It's quake festival. And you're able to add in those different colored areas you want to fill in. And for a particular color, mainly. And we'll get into more detail about how to manage that. But for now, He's will be the only tools will be needing for this course. Let's get started. And now I'm going to add my reference layers or raster layers, like you say. All right, now I'm going to set up the layers which are always rasterized. I'm going to select three different layers, which I always like to use. And the reasonably like to use raster layers is because the fill bucket tool is not particularly friendly with the vector layer. Very much so because like if I award, for example, the will allow me pretty much can't work on the vector mainly because it's too big a layer. It's vector designs and it has to be set up on raster layer and it's Raster tool, mainly sue, that is why you cannot use it on the Vector Layer. Now we're going to use it on a raster layer instead. And I'm going to do is name my layers. I'm going to name this one skin. The name this one, lose. And this one is going to be background. I should have done that at the bottom. Dismissed that. All right. Perfect. I'll set up so you can use it there, but you can use it freely on the raster layer with the fill bucket tool. Like I said. You could also use it here on my, I could use it on my sketch here, but I'm going to turn that off because that won't look good because a lot of little out of proportion. The next I've got my spray paint tool or airbrush tool. I always keep getting the names which can make shadows with proper texture colors like this is so, and we can turn down the opacity on that. Just to make it look good. That looks a bit like a shadow, but we'll go into more detail on how you can put that in place with under his neck are undermined. Heck, that's me right there. If you didn't know. But we'll do that later in this course. We'll use it just for certain areas. Not going to be highlighting because it's OK. And it doesn't really need a whole lot of details if you don't want it to. And it's just a basic comic I may miss just particularly on these panels. I want to keep it basic, simple, simple designs. Now that I've got my layer here, I'm going to also put in a extra layer because this is what most people like to use before they put together these three. And endless forgot about it in all honesty. But what most people like to do when they start out altering their designs, they create flat layers which are basically to add like just pretty much any random color. Your design like I'll just do pink here. The skin on his flat. And I basically add pretty much just any color to my design. Certain areas of the layer. That way I can pinpoint and fill in certain pixel eight areas that might be fighting somewhere like certain areas I might have missed, will basically basically you fail to capture where there's areas or fill them in entirely. So that's why most people like to use Latins all the time. And it's good for that design. Really, you know, apertures the others within place. It also keeps it in Unbounce, but you also want to be able to hide your flats pretty well. I like to put to the time way it doesn't show any like random colors, but this is good. As a starting point. Does starters for what you want to color in specific colors. And there are certain gaps also you need to close in. Like so. I'll just undo that, just fix that. And there we go. And now say that we got that bill some of that building. I'm going to put together my flats for the time being, and that'll do it for this video. In the next video, I will do more coloring. Now that I've got that laid out for you guys. And we're going to color our layers in the next video. And most of all are going to need are flat, so don't forget that. And that'll do it for this video. And I will see you right into the next one. 3. Layer flats: We're back everyone. Here. We're going to color in our characters. So I'm going to start with a new layer, I flats layer. And I'm going to select my fill bucket tool. And just keep in mind that the discuss this in the last video that the fill bucket tool is basically a Raster tool and it can only work on the raster layer. As you can see you down there faster. And basically why it does this is not exactly a vectorized tool. And it's because the fill tool is used for covering gaps and it's a lot of detail just for billing colors in. And it takes pixels to do so. And that's basically why it can't work on vector. So as you can tell, I even tried wouldn't even let me. So there you have it. But either way, it's still a great tool to use and it's more easy than anything. I forgot to turn that off. Now basically, we have our raster layer and this is to separate it from our characters outlines. That way it doesn't come between our background outlines or fill our art board up. So now I'm ready to make my flats. That way. It prepares my colors for background and covering that there isn't any transparency shoeing. That way. It also fills up some line gaps and edges all around outlines and the background. For now we're just gonna do the characters that way. You can just kinda take it bit by bit. Now. Make sure you got the close Gap option elected and make sure you got it turned up just right when it's turned that down just a little bit. Just one. And I'm going to select my black color. And I'm going to just fill in, you know, just any kind of random color is fine. That way it comes out. However I want it to. I'm going to make a lot of detail out of it. Or that's basically what are you supposed to do? Yeah, sorry. At first. That way, you have to use the actual colors you really going to use for your drawing. So just start with any old random colors you can select from. Let's throw around a little bit of repaint it technique. But anyway, I'll, what I'll say you want to have selected is the applied to connect pixels only. And that basically is to help keep it all the other end. If I don't have that selected. This is what happens if it's built on the entire art board. That way it only fills in certain areas. Keeps it organized. Organized within a certain box of your drawing. Keeps it all boxed in. There we go. Now I'm going to add random colors, like I said, all times keep the option on a way it feels anion, there's big gaps that you don't need. I'll be right back. Now I'm going to select the right tones or my characters on certain different layers that I've made here, such as my skin clothes. And I'm going to go down here and select the skin first because that's usually the while I make my main priority. And it comes to illustrating my characters, given the right skin tone I feel is necessary. Here we go. And i'm I need to make an extra layer just did it go over the eye is a bit kits autonomy, as you know, as you can see some of those gaps on it, get it, get within there. So that's what is Claire's gap is good for. Right now I'm going to get the skin and I'll be right back. All right, so I got my skin and my character, and I should probably get the Hilton real quick and I'll be right back. All right, so there's my skin. And now what I'm gonna do is I'm just going to make some extra layers, which I probably should have made in the first place. I didn't have times 2. So first I'm going to make hair. And well as I'll just make that eye is as well the way it's easier. And then I'm going to make next drawing. I know we face, we'll just do that one on. Perfect, cool. And now we're going to move on to the other features to close and the eyes. Then I have to apologize guys. I made some pretty huge minor mistakes here and there. I basically failed to address some of these animals that we need to use our SCOTUS. Like for one thing I need to tell you that refer other layers, a Fill Bucket tool is the best to use. And they're for other only to editing layers. A little bit different. Kind of the same, but this one I just prefer most. And that's all we're going to be using. And I basically also meant to turn up my those gaps all the way which I should have had from the start. And I turned out my area scaling, which is to help enclose the colors within your lines a little bit better. And what happened was I, my lines are so thin and I also had my areas scaling up too high that my colors basically overlap the upside, my outlines, as you can tell, there there's some areas right there that had the wrong colors within even though that's my flat still that's not good, very bad for your comics. Keep that in mind. Very bad luck. And this is a hint I aliasing. I had turned off on my pin tool when I was going my characters is not a good idea because my lines, as you can tell, are super thin and some of them, most of them actually are not really connected, are enclosed. That's why some of these colors go outside your outlines. And then because they're not enclosed or connected, and most of them, as you can tell, are not connected. So that's my fault. But on my part, so bear with me, guys. Yeah. The anyway, what you wanna do is keep your clear gap turned up all the way. So it will just think to itself. That's close enough. On sec, somewhere around there. Let's enough to it. Still missing up. I still might be screwed up some things. That's because I don't have my anti-aliasing off. And you also are on. Sorry. Yeah, that's pretty much it. I anti-aliasing is off. You've got on that box checked. And I also want to discuss the bill up to Victor pass thing, which is to also we turn down the opacity on my outline. Basically gets right into the center of your outline right there, but it also is unique. It also masks in a certain areas in that outline. There it'll think itself to that. It'll just have disclosed within that gap of that outline. So just keep that in mind so you won't be able to fill in certain areas with that gap. That it doesn't always have to stay on. You'll have to use that all the time. But a unique tool. But anyway, area scaling you must have set up there. I'm going to go back in and I want to fix my flats. Mis in tone. I'll be right back. Guys are with me. All right. So now I'm back. There are a fixed everything up and just keep in mind this close gap. When you're using it. Make sure that you have all your lines, find gaps and everything closed up. I basically felt that I manually did it a while back and closed all these gaps together. They're not exactly connected, but just basically manually adjusted them. That this closed gap, if you haven't turned up all the way, it will consider it as closed off. You select that certain area. There's usually good but always keep in mind closure gaps. That way it doesn't overlap outside your outline and right into your background and what completely color it in. But anyway, that's that's about right. Now. Let's move on to adding other to my close. So I'm going to do that right now. And I'm going to just give this a nice good green color, a little bit darker around their little too dark. So great about these flats. They hide all the gaps that you don't need. And people just prefer to unit is made for it to be quicker just to color in the right color margins or sorry, the right colors for their owns certain areas and they're drawing. Study using flats. Keep that in mind. And right, there means color will give that, right? That was pretty quick. Now I'm just going to add hello to my eyes. It says me by the way, yes. There's just going to be arc right there. All right, and now onto the skeleton, it's going to add, we really need to do is I go into skin. Basically, that's all you have to do with the skeleton is just add this skin tone or color or whatever color is skeleton. Maybe. Let's say about it for that. But we're just going to add yeah, that's going to be dark. Although i is as you can see. And just to just do that, try doing a dark gray for that right there. That way we can see that outline right there. That's going to be dark. That's the teeth horse or going to just be plain light. And that bit down here, this is going to be black. These are holes. Holes are right. Now. I'm going to add, I almost forgot my hair. Alright. Now let's real quick. You've got a nice brown tone. And always keep in mind. Make sure you have your area scaling selected. Rectangle one is the best one to use. And there's also a dark pixel and round. That's usually how it gets around your outlines a bit in that certain way, certain area. It is closed off. All right. Now let's get the right tone just about right. Whenever suits me best, whenever CPU list. Alright, cool. That's all done now. And we've got a sleeve there. Alright, and now that we got all that done, I'm going to show you a quick highlighting a technique which we can create on a new layer. And I'm going to just, I'm going to name that just yet. I go ahead and do it right there. That's good. I'll just call this shadow. And I'll just name this one it at 0. And we're going to have it below the skin layer and bone, Bone is layer. There's two there. Every o and cool. Now, now what I want to show you is what you can do with the airbrush tool is basically you can set your color layer as a reference layer. Right about. Actually, I just forgot. You have to put it right above. And you set that as a reference layer, your skin tone. And then I'll make this into a clip to layer below. And what it will do is I'm going to black out. Well, it looks like I did it wrong. Sorry about that. Might have been like this. Now. I don't know it and there it goes. All right. Good. Perfect. And that basically is. 4. Coloring Background & Objects: Okay, now we have the characters finished. Let's move on to the background, which also needs flats layer. And what I'm going to do is make separate flat slayers and colors. And I'm going to do that right now. And I do call this lab. That'll be for the objects. I'm going to add an object's layer on top of that. Top of the background. As there are some objects there. And I think I already have an object layer for this. And there it is. And I'm going to add one more lattes layer called that to the called, oh, this one, lots one. Which one? This one will be called lats. Alright, there we go. All set up all my flats. And we're going to start with lapse one, which is the wall. We're just going to give that a bright pinkish color. And I'm going to just, you know, go around all of these edges real quick. All right, now I've got that. It's not so hard now we got our objects to select just all around spot there. I'll get that real quick. At random colors. All right, Now we've got a, now I've got my first panel. Now next up our second panel. And get that real quick. Okay, We got all that. Now. Now I'm going to show you a neat technique to fill in all the gaps it completely that might show some unwanted flats or pixels around credit quizzes or corner that you may not be able to find. Now what we're going to bring out is the Lasso tool. We have it selected. And this is for closing the entire class color. I'll choose this background a little bit, a half of it. I'm not going to be perfect, but it's a meso up to de-select that control D on the keyboard. Click away. I don't go out that that shouldn't be. You're right at the end. Do the line. Now I'm going to, so I'll choose the warm orange for this spectrum and that warm. All right, and there's a quick way to fill this area which is right here. You've got this panel, everything to select from and including the Fill Bucket Tool. Yep. That's pretty quick, neat trick right there. So that is a useful tool. Close unwanted backgrounds and pixels. You can do this with the, with and without the alias on which it down here. Pretty cool. Now then I'll select the necessary colors for my objects and use the lasso tool. De-select that first at area. Thank you. Now then I'll select the necessary colors for my objects. Use the lasso tool. That's right, My all objects, sorry, not my background object. And it is. Yeah, that's kinda weird on a news. Pick the perfect square bit. All right, and keep in mind you can also still use the fill tool right here. This is the quickest method, or they're kinda going out of bounds here. That's okay. Control D select for wood. For now I'm just going to hit or and yet There it goes out of bounds of bits. Yep. But like I said, I can trace over that. I wanted to. But the best thing to do is probably just create layers. It that done, this is probably the hardest tool you use. This is not really how I color my wrongs in usually, but I'm just showing you this. A some people recommend is a quick scenario for othering in your illustrations. I would also like to point out another quick method for coloring in your designs. And this is the Lasso tool is just basically one out of many tools that you can use. The method of coloring in her designer, your backgrounds are your objects. Now I'm going to select the W key, which is the auto select tool. And that deselects your entire drawing. And I'm just, I'm not going to use this because that's just going to fill up all my objects. Unless you prefer creating multiple different layers. You fill in the different areas and that's cool. And if this could also be a great method for your flats, create your flats on. Now I'm just going to use the bucket tool for the fill tool. Manually. There. Move around and fill. There's corners and crevices right there. And perfect. That's another unique method. And the keyboard shortcut for your buildable is g and for the gradients. So you'll have to click it twice order to get the bucket tool or feel till January works. Now I'm going to select that part right there. Fill it in. All right, cool. And now I'm still out of bounds here. Yeah. That looks a bit awkward. Yeah, that looks bad for your comics. The best way to fix that is to go on that specific layer at it's on. And I have my gradient selected and MLA is easily fixed. It's like that. This could probably be a separate layer. I would make that on. I recommend it. For now. I'm just going to cover any, you know, whatever colors I can think of that would be decent for my drawing. I think my drawing me colored the right back. It all looks good. Now I've got all my color tones picked out. My layers are all setup and folders. And if you want to create a folder yellow you're going to do is create new layer folder. And you click and then you click and drag your layer into that folder. That's very simple. Ask it hard. You can select multiple layers and drag it into that folder. It's already in there. Now. Now, now we can finish up touch ups. Now that'll set us up for publishing our comic. There. They're all, they're all the colors finished, all the backgrounds, you have that. And you're done with that. We want to add some touch ups to it, which will make it look good and stand out. So now all we got to do is move on to adding shadows. 5. Shadow detail: We are back with making our shadows. Easiest way to make shadows is with your pen tool and with your airbrush tool, which quite honestly better for shadow detail because the pen tool has more vectorized thickness to it. And I got my highlight layer here. I'll set up both. So what we're gonna do is we're going to select black, color or shadow detail. And I make it a little bit of shadow maybe around here, around his face. It maybe around here on the sleeve. And get look more like it's popping out 3D effect under here unless seat to not gonna, I'm not gonna go crazy with the inner shadow that much. Everything. I just want to get mainly this main part, the character. More important to me than the objects. As you know, you kinda have to go into a certain detail that I don't think column actually, he's really need a lot of detail. But anyway, I'm going to do is I'm going to let this layer up as a blip to layer blue. And this is going to be set as a reference layer, which is what helps you put in place. See, it doesn't draw over any of this right here. That's what's good about it. What I'm gonna do is I'm going to use more of a aided type alias. Not so detailed. That might be a little bit too detailed actually on my Pen tool. But that's okay because I wanted to show you a neat, neat technique after I roll this. And not be exact. Let me just on the bottom instead, that's probably better for you. That looks neat. Right there. Yep. The neat. All right. Now, unless you lower the opacity down like this, a little more. It'll show it'll look more like a shadow transparency, as you can tell. It's even more time with the airbrush tool. I'm just going to undo all this. Because it already like this. Select the right on it already is itself a transparent each euro. And here I got all the different functions to use from which are pretty cool. There is soft, I mean, Then like to use as firelight. That's kind of a little out. Well, it's working now, but it's kinda works specific way. And you want your blending mode. Or it's about the same as the soft airbrushed out of the hub can never get to highlight to work for some reason or better yet, I write here, I can get it to work just fine with the shadow. I can't tell. I can't remember. One of these had a difficult time really working with because it wouldn't wouldn't actually paint, wouldn't actually show up. And behind the shadow I was trying to highlight, I was trying to put together. But anyway, you know, main one I like to use is soft. It's much more easy. Either the ones that are fine too hard is all right, but it might be a little lighter too. That's a little the opacity on that is a little bit high. The way that a keyboard shortcut for the airbrush is. You got to click it two times. I'd say that this version of the airbrushed gets a little bit. But it still works. Nonetheless, just fine. Now these other ones you don't need to worry about. These highlight obviously is pretty good. Or probably mainly highlighting. Good for highlighting. And this is obviously shadow. Yeah, this looks more shadow like actually then the soft. But I prefer the soft mostly. And yeah, that's about it. But I'm going to I'm just going to use basically just going to make a shadow with the airbrush. Instead. Lower that down a bit. And right there. Now, sorry. That might be as head shape from the back and bit. Yeah. Looks about right. This to has to have a shadow behind it. This because it looks better in that way. There we go. But I also don't like to give it that much detail at the airbrush tool because it's still, even with the opacity up, it's still kinda looks a little dark back there. So I want to just learn that down a bit. I don't like having that much detail with the airbrush tool. It's even even with the airbrush tool, it still has some detail to it. So be sure to kinda lower it down a bit. That's pretty much the easiest way to make your shadows. This DNA, few streaks here and there and you're pretty much done, and that's usually comes last, I believe making your shadows are most people know that really. Making your shadows last is very important because again, your shadows then wouldn't make any sense. But that's the unique thing about the reference layer and the clip layer to below. You can attach it easily and it doesn't go, doesn't go outside of anything. It doesn't really mess up your drawing that much. And like I just made a streak like this, right? Honestly, just cover up my whole thing and that's not good. But that's what the reference layer and the clip to Layer Blue helps with event. That's very easily the unique thing. I think I've already explained too much about that. You guys are I felt that I'm just talking about that constantly. But anyway, we're going to start in this next one. I'm just going to speed through this while I'll use this function soft. Now I just make the layer reference note wrong layer. And the clip, the layer below. They always have to do this All the way. It may be a little bit frustrating for some people. Haven't always click those two buttons in order to get the shadow. This right. I don't think too much shadow detail should go into this because this is going to be white lot to keep up with. Actually, maybe that's not so bad. On the skeleton here. There we go. I like that. That looks good. Sometimes going back over it, you good. It just right because this tool can be adjusted with the correct line tools or any of the object as it is on a new raster layer and little advice. And if you're going to try to go back and fix some of these outlines in if you put them in a reference or in a raster layer. We're basically going to be difficult at that point too. Around with your outlines because it won't show the the points that you need to adjust it. Like so. Is that we'll definitely devastate your entire illustration and a yellow who've gone through all that and all for naught because you won't be able to adjust your outlines. And that's the sad thing about you have to start all over and that will definitely take up much more time. I've made that mistake plenty that guys there, don't worry. The only one. Shadows are pretty much the easiest part of illustrating. So I'll finish here and show you a real quick adjustment to make two shadows. You can dabble with the opacity a bit and make it look lighter if you need it to. I'll show you some of these features instead. Can I've already shown you that though. So you got normal, which is just normal force, and you also got dark in which your shadow a bit. And he got multiply. This kinda adds a little more detail to it or Bump. And we're not gonna go through all these, but I just want to show you some that might work pretty good. Is to come up the same. I know that that trust me, they're changing up a bit and a shadow. Or in the law it's changing up the layer a bit more, if anything. And that just makes it go away. Just don't inhere. Be careful with some of these, some of these, they won't show very good. But dark nm multiply our normal are the best wants to use. People just prefer to leave it on normal, but there's soft light that's a little bit soft and not so edgy, not so detailed. I like that one. I'm going to just maybe stick with dark in for the time being. I'll be better. It's pretty much a life got right there. And just a little advice. Not going to use these and the airbrush tool, Jose, they're just dotted lines are not really good for data detail unless you want to get a little creative then go for it. But now, he's already often used for that are details that don't use them for like if you're trying to, you're working for a company in and they want you to do it in a specific way. Just make normal shadows and do it that way. Real quick on it just to add some shadows to the object right here, I'm going to add another layer. And the raster layer that in a kind of something or other and look other, flatten out a bit. That probably might be good. Something like that, I guess. Alright, work. Something like that. Give it in some detail if the under 50 and opacity. All right, now that'll do it for this lecture. Now let's move on to saving your work. 6. Saving your work: All right, so now we have the work to save it to our computer. Though we're going to go to File, roll down to Export single layer. I'll select PNG and is best for printing. Now I'm going to save this to my work. And I'm just going to type in a comic panels. Perfect. Right, save. Now we check everything. All that is good. That's okay. And we've also got our width and height. Perfect degree. And we also you'd have your workset at 72 as the resolution. Or depending on how big the resolution it might need to be 300, depending on how much detail you might have added to it or how big your canvas is going to be. And that's because it's more clear and precise. And I'm more quality print level or 72, that's always best. And right here sometimes for some reason, I just want to remind you when he clicked this, some reason it doesn't set this properly. I had this set to pixels. I'm going to select that manually. Now this is for comic. Just leave it at comic. This is illustration. Probably won't be precise, but you've been on comic. And keep it at preferred quality and not fast. I click, Okay. And I click Save. Looks all good. Now, it'll be there in our folder. And it should be at 72. That way it's better quality for your website or your novel depending on what you're going to post it on. If, say for instance, Instagram or Facebook or comic website. I didn't really have enough to many of the names at the top of my head. I patriotic one place. A lot of people like to post comic books on and heard quality would probably be resolution for digital comics most of the time or panels even that's usually comes out good on digital touch screens and like laptops and such, if you're going to view it from there. Yeah. And if you're going to read your books from there, you want it to have it at that precise quality. We're going to look good. Make sure you know, because your computers and your phones are technically in pixelated. So it'd be a bit difficult for some people to look at something that isn't high-quality resolution. And if it's just pictorially all over. And along with, you know, how the quality of your computer or your touchscreen is, look bad. Just keep that in mind. And by the way, you might also have to form it into a PDF. You know, you can't do that here. Put Studio, but you might, if you're gonna make a comic novel, you may have to articulate it or craft it into a PDF. I'm way or maybe in Photoshop, say, but all the panels together that way, maybe InDesign to. But you can save all the panels individually. The PNGs create that novel depending on the quality of how it will come out. Yeah, that's pretty much it for your publishing and I'll leave some links in the description below for different websites you can choose from. But anyway, that will do it for this series. And I hope you learned a lot from this taking this class. And I hope you've experienced just enough to get you on the right track for those of you who are comic illustrator is out there. So I recommend that you keep practicing with different techniques and Clip Studio better at comic book illustrating that are then that'll do it for this video. And I will see you guys very soon in the future. He's out. 7. Conclusion & Final thoughts: Hey guys, thank you so much for taking my part 2 of coloring comics and Clip Studio Paint tutorial. If you haven't already done so, feel free to check out my part 1 of inking with comics in Clip Studio Paint, part one series. And I hope this really gave you a lot of lived experiences. And I hope you are able to create your own creativity from this video series. So leave a comment if you have questions or if you'd like to see more content like this, feel free to let me know. And I will see you guys very soon. They creative guys.