Digital Drawing & Painting: Clip Studio Paint Pro/Ex: 3D Posing Models | Brian Jackson | Skillshare

Digital Drawing & Painting: Clip Studio Paint Pro/Ex: 3D Posing Models

Brian Jackson, Author/Publisher/Educator

Digital Drawing & Painting: Clip Studio Paint Pro/Ex: 3D Posing Models

Brian Jackson, Author/Publisher/Educator

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6 Lessons (1h 7m)
    • 1. Introduction to Clip Studio Paint

    • 2. Posing 3D Drawing Models

    • 3. Sketching Figures

    • 4. Inking Figures

    • 5. Smith Micro Graphic Tools Overview

    • 6. Conclusion

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About This Class

Digital Drawing & Painting: Clip Studio Paint Pro/Ex: 3D Posing Models

This is a class about the ultimate digital drawing and painting tool -- Clip Studio Paint (1.6.2), formerly Manga Studio 5.

Have a need to draw scenes including complex figure posing?  How about a need to draw accurate hands?

In this course I'll show you how to use one or more pose-able 3D drawing models to either draw over or set to the side as references.  We'll even look at zooming in on hands which are always difficult to draw well.

What about the actual sketching of your figure?

In the next lecture I'll show you how to make crude sketches based on the 3D pose-able figures you previously positioned in your scene.

What about inking?

In the final lecture I'll demonstrate inking your sketch using smooth vector lines that can be contoured, shaped and moved to your liking until you accurately portray the sketch beneath.

Learn to use Clip Studio Paint (formerly Manga Studio 5) to produce stunning figure drawings.

I'll see you in the classroom,


Meet Your Teacher

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Brian Jackson



Born in Los Angeles in the middle of the last century, I have always wanted to be a writer. After twenty-five some odd years spent working in the computer industry in the heart of the Silicon Valley, first for Lockheed as a Systems Programmer and later for Cisco Systems as a test tool developer, I managed to retire early and begin my next career as a self-published author.

Along with writing and publishing my own novels I also publish the works of my wife, Melanie Jackson. During the past four years I've published well over 100 books in paperback and eBook formats. Oddly enough this includes eBooks on how to self-publish books and how to create professional looking book covers using the GIMP. I've also recorded and distributed a pair of audiobooks available for purchase on Amazon... See full profile

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1. Introduction to Clip Studio Paint: hello and welcome to my course digital figure drawing using three D models in clips, studio paint. Now, this is a really interesting course because it's really a quilt stitched together from several revenue remnants that were left on the cutting room floor and that I felt should actually be in possession of my students. So what you gonna do here is you're gonna learn digital figure drawing using a product called clips studio paint. This is a really superior drawing and painting tool, and you're going to use three d pose herbal models to draw from. Then you gonna I'm gonna show you how to do crude sketches from them. And finally, how to do vector inking of your finished figures where you can actually contour lines and and have points to your lines and thicknesses and and so on and move them around as you like to fit the figure that you're drawing. So without any more ado, let's go ahead and we'll get into this. Now I want to give you the background and how this course came together. I originally released posing three D drawing models as a YouTube video, and it received several positive reviews So when I found that I had already produced the video for sketch figures, which was the next a lecture in the course that I had been planning at the time, I was thrilled. But still the material was too short for you, Demi. This was stuff that I'd recorded about mid 2015 that we're talking about here now when I released this. So So I got this stuff together and I released it in a shortened format on another learning management system, one that accepted shorter classes. But then, recent discovery it's led to this. I recently discovered that I had also recorded a lecture on inking figures, which was gonna be the third lecture in the Siri's. But if that I'd never produced the video. So I went ahead and I produced the video and I decided to include it with the previous material that I had, and I finally had enough to maybe consider au Demi course. But still, I felt that something was missing. I I remembered something and I searched and I searched my two terabytes of disk space and eventually I found another recording, which was an overview of this Smith Micro drawing and animation tools of which clips studio paint is one. And I threw that in here. Could it be that there is more to discover on my disk drive? It turned out there was. I found that I had actually gone through the drawing or coloring and shading process for the figure that I demonstrated on my destroyed, but that I hadn't recorded the class yet. So here I found two more potential lectures, one coloring and shading figures, and the other I was going to do backgrounds of three D perspective backgrounds. Clip studio paint is amazing at doing three D perspective drawings extremely easily, so that was going to be the additional lectures. Now what is clips? Studio paint, formally known as Mangga Studio. And all I can say for now is that it's probably the most amazing drawing and painting tool that you're likely to see, and I hope to prove that to you in the score. So what will you learn in this course? First here is clip studio pain on the right, and you're seeing a opposable figure. So we're going to look at using three D possible models as RePet representations for our drawing now. In this, I'm going to show you how to pose the models and to either set them off to the side and using the use them as a drawing reference ordered draw over the top of them and even how to zoom in on features like hands, which are typically very hard to draw and get a reference model for a hand. So rather than that wouldn't dummy that you got on your drawing table next to you. This is a virtual wooden dummy that you have on your computer, and this is the course that drew attention on YouTube. Now, in addition of that, I'm going to throw in the sketching figures and inking figures and my Smith Micro Graphics Tools overview, which is all of the videos that I found. And I'm gonna also include an outline of the two planned lectures. Now, here's the deal. If I get unenthusiastic response to this course, then I will go ahead and pull back up clip studio paint and my original drawings, and I will show you these last two lectures and will complete him. If this course goes splatter, then you're not likely to ever see these so you're taking a chance and rolling in this course actually isn't that interesting. So with that, let's get to the beginning and we're going to learn how to use clips, studio paint to pose models. 2. Posing 3D Drawing 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. 3. Sketching Figures: Hi. In this lecture, I want to talk about drawing, and this happens to be the one weak spot for me in this entire process. I'm not much of a drawer. And in fact, because I got to record and I've gotta have my mic in front of me, I'm going to actually be husing a mouse that's over on the far right instead of my tablet to draw. That's how little drawing is required by the process. I'm going to show you. So I had an idea for two scenes that I wanted to draw. One was a woman may be standing on a ledge or something like that. Are, you know, very proud and bold. I could give her various backgrounds so we could see her in a variety of positions or situations, but the other is going to be a close up of a woman's face, because that really requires different disciplines. And I'd like to show you that. Okay, so let's begin. The first thing we're gonna do is we're gonna go up to file new. We're gonna create a new sheet. Now, this one I have size things to be a height of 2500 and a width of 16. 66. This is what I'm currently using for Amazon e book book covers. So we're going to do a book cover size here, drawing or just an illustration, and we're gonna go to 600 DP. I resolution. This is probably greater than we need for anything. Weenies. We need 300 for print versions are via create space in 72. The, uh, okay to display via Kendall will go with 600 anyway, because we're doing high quality. So here we go. And here I get the page and it fits in here. Now, the first thing I'm going to dio remember from the previous lecture is go down to materials and pullin. I am doing a female. So here she comes and she's in the default pose. I would like to give her a very strong pose Now, first of all, at this point, I actually would re sizer. I'd come down here, and I change whether she's sexier or more of a kid like and slim and so on. But I'm gonna leave these the way they are because I like her justice. The default figure. I don't particularly like her pose. So we're gonna fix that. Let's go ahead. So we'll go over to poses, and I want an entire body pose. Don't really care about her hands that much. So I may not pose the hands, but let's go down and see over here on the right whether we confined well, punching someone and season them by the collar is certainly an authoritative stance, but maybe something a little less aggressive. There we go. Rise to full height. Look at this one. Arms crossed across the chest in and legs spread in a very determined stance. I like that a lot. Now, the next thing that I like to do with her is I'm gonna leave her, actually the way she is. So I'm not gonna play with perspective or anything like that. Let's do a full on frontal picture of this woman. Very strong. I'm going to use the hand here to move her up a little so that I can zoom in and get her to full height. Uh, me, uh, pick the object again and we will zoom. Whoops. And we will zoom in on that. Here we go. I'm missing her feet now. So lift her up a little bit. I'm gonna move the camera camera? No, I out up and down a pack out camera there. There we go. Now we've got our filling the frame, and I think that her hair will fit or anything that I decided to do with her feet. Next. What I'm going to do is I'm gonna show you the limited amount of drawing that I need to dio now. I want her in an evening dress. Okay? So I can see Let's go over here and we'll grab the pencil. This is the thing you use to draw up some ideas. And actually, before we do that, we need to make sure our later Zehr correct? Now, if I grab the pencil and I come over here to draw, you're gonna see the nose sign on the body. And that's because I'm on the wrong layer. I'm on the doll layer, so let's go ahead. And I actually want the pencil layer here on the layers menu above the doll layer. So anything that I draw I see over the doll. So there I am. I'm all set up. I'm on a raster layer. I'm gonna do some pencil work and let's decide what we need to do to make this an interesting drawing. Now, first of all, I'd like to flip this out in this direction. That was a lousy line. Let's undo that line. And I forgot to go here and mess with the fact that I'm on a larger object. So I need to have a larger pen. There we go. OK, now let's draw a pencil line down here. Anathema war. I've drawn this figure several times in preparation for this lecture, and it seems like the more that I flourish this skirt out in this direction the, um, more. I'm happy with it and it's gonna come along over to here, and then it's gonna attach up, and it's gonna glue pretty much to her left side, so I don't need to draw the skirt. Now it's going to have lines in addition coming up here. The creases in this skirt that show kind of the direction and the flow of what's going on. So I'm going to draw those in there. I don't have to draw the legs or stuff like that cause they're already here. I'm just going to use them, and it's gonna be a tight fitting dress. Now, up here, I definitely like to have a plunging neckline. So we're talking about that. It's gonna end up down here near the belly button, and then it's gonna come up this way up to the right collar, so I'm gonna have a plunging neckline on it, and I like the dress to cover the arms all the way up to the rest. So we're gonna cut this off right there, and you won't see the other cut off because it's under the arm. So here we're getting an idea of this blowing wind, this very confident woman, and are somewhat sexy. Dress. Let's put some shoes on two. We want the shoes to come down kind of, you know, to a point and maybe have a bit of a hell on them like that. And, um, the type that cut along here so we'll have a shoe that looks something like that. And once again, you know, try and get some kind of a hell suggested here and pull the shoe along and have one of these cut on to the top of the shoe type of things. So look at how awful my drawing is. Now, this is the need part. We're doing this in layers and we're slowly building up an image that will be seen. I got all uptight about how bad I am is a drawer. But when you see the final result, I think you're gonna be pretty happy. It doesn't matter. This is a part that nobody sees, so don't stress over it. Now you want to dio clothes, which we've got right now, and we want to do hair too. So what I was thinking is that the hair would blow out very long in this direction, right flipping around and all that stuff and be pretty much glued to the head. What, on the other side. So you'll maybe even see this year this year you probably won't see And then the lips, the nose in the eyes, you know, I think I'm gonna pin them in. I know where they go, and I can zoom in there and I'm gonna have all of this. So here, what you can see is during the drawing, what I'm doing is really just marking up some references for when I get to Anqing, which is going to be one of the next steps. And I think I actually in the next step end up doing some three D background drawing to fill this in. But the next step in drawing this figure is to ink it, and all you got to do is get close. The model has given me a lot. This added hair has given me some ideas on what I could do. I'm gonna Inc The face I've got the dress, I've got the flowing thing. I've got the shoes at the flowing skirt So this is all the thinking I need to do on this figure. The next figure that I wanted to work on is one of a close up of a woman's face. So let me go ahead and create yet another drawing here. I'm gonna keep the same dimensions and so on because this is working out just fine and I'm going to bring in yet another model. This is the way I always begin is with a model. So we'll bring in the full body. Let's bring in another female. Now what I was thinking that I wanted for this was a riel um, twenties. Look, kind of a flapper woman. So I'm gonna move her face down to the center of the screen. And that way, when I zoom in, I'm gonna pretty much fill the screen with their head because this is just gonna be a head shot. OK, there we go. A little ways away. Isn't this a great thing to work from? And what we're going to do next is we're gonna swing around and see if we can get some kind of Ah, a side view. There we go. I like that a lot. Now, the next thing that we're going to do with this is draw in this case, I need a phase and I need hair. The clothes aren't going to be that much of a concern. You don't see that at all. So in this one, this is a close up of the other two elements that you need to provide, So you need to provide clothing, a face and hair. Now, the further away you are, the less that the hair in the face matter. And the more the clothing matters, as in that others seem that I've got this canvas here, the face doesn't really matter that much, so I don't worry about it. I'll link that in later here. The face matters, but I'm gonna begin with the hair because I had an idea that I wanted to try. So when you go over here to the pencil and I need a layer once again, notice every time you see this, it's usually a layer problem. See this? No draw here. Symbol. Um, if you go over the layers, we're going to see that once again, we're on the doll layer and not on the raster layer, which we can use to drawn. So once we switch to this raster layer and by the way, moving above the Donald layer so you'll see the lines over the raster lines is, um I don't see how big that pen is rather thick. I think I'm going to make it smaller. Let's go here and pick up something more like a six. I like that. So here's the hair idea. I thought it's gonna be higher than the head, but what it would do is it would sweep around out here and come right under the chin into a point so that it would come up this way and obscure a major portion of her face. Now, depending on if she's got a left handed part and it's over here onto the side of the head, we're gonna have to draw apart here. I'm just going to keep it going right around, and I'm gonna pull this down and get a tighter and tighter until the hair is clinging to her head. Now, here we have the kind of hair do that I had in mind for this mannequin. And if I get rid of the manic and I can see the hair do you outline going here, we're gonna eventually Inc that and then we're going to paint it all up, highlighted in color it until it looks like really hair. So let's go to the eyes next. But I go back to my pencil and now the idea with eyes is that they go along this line So you already got the line for where the eyes belong. Now they typically say there should be one I with between the eyes. This looks a little close for that. But I'm going to try and mark out and I hear Okay, I'm reasonably happy with that, I'll I'll fix it up in being king stage and then I'm gonna come over here with that. I I'm not actually really happy with that. I that should wrap more. But here, let's pick up part of the nose and up here. We have a nostril. Um, so that's that's good enough. I want some lips that maybe bow down in the middle and curve out this way. Nice and full on the bottom, these air coming out a little thin and then the eyeballs. Right. So we got them in here, Notice how we're doing this Very roughly where we might point thes eyes left or right. It really depends on the layout of the page, what we're trying to accomplish. But I'm just throwing together some things here. And if I get rid of the dummy, I'm beginning to get a face. Ah, woman's face. So let's go ahead. And I'm not going to do the side of the face here or the neck or any of that, because I've got it all in the dummy. So here's my other drawing. Let me show you what I've drawn without the dummy. This looks a little Well, a little simplified, but it's all the drawing extensions. I need to the dummy to get to the thinking stage if I look at a more detailed face Now, if I had my pen here and I backed out a little bit and had maybe a little bit more room you notice how this is very pixelated. It means that the image is very small. It should be much larger for doing most illustrations. But I could draw in shades and so on to do this in the drawing layer. Now, if you're very good at drawing, you should go nuts on this level. I'm showing you the simple outline kind of drawing here. The the let's just sketch ahead to the inking stage kind of drawing because I'm not a very good drawer. If you draw very well, you're gonna go nuts and you're gonna spend all your time here. Of course, if you draw well, why are you taking this course? Hopefully you're getting some other extensions beyond drawing threat. So you know this lecture and you got it down cold. Well, maybe you can wrap the other stuff around it and really turn your drawing into something cool. But anyway, this is drawing once again. The two examples that I've got is addressed this depending very heavily on a female mannequin. And, ah, hair and eyes and so on that are depending heavily on a female mannequin. In the next lecture, I'm going to look a three D backgrounds, and after that we're going to ANC these two drawings, which isn't going to make it look particularly great yet. But once we get to coloring and shading and put in the final effects, I think you're gonna be impressed with what we've drawn very easily. I'll see you in the next lecture. 4. Inking Figures: Hi and welcome back. Here we are with the clothed figure that we have all set up with our mannequin and a very crude drawing session. I'll have to apologize for that. Maybe later will do a better drawing session. But you're going to see that things for me really start happening in the Anqing stage. So I don't care how crummy my drawings are. I don't let anybody ever see them. If you're really good at drawing, you should have a Wacom tablet. And you should be really doing nice drawings of this layer that really helps Anqing and coloring in the final presentation of things. Now we're about to move on to thinking now, you would think that you would jump right onto the, uh right onto the pen over here the way that we did with the pencil and we'd start inking. But you noticed these jagged lines and so on. That happened during pencilling you can make them smoother through configuring your tablet or your drawing software. But what I prefer is actually being in complete control of my lines. And I'm about to show you what I'm talking about. Now, over on the right, we're going to go toe layers and please ignore the fact that there are several layers that are not displayed because I've already carried out this exercise and the layers air there so I can magically go and presto. Here it is, once the lecture starts getting boring, which is beginning to get so let's head on to hear the drawing layer that we have. And what I'm gonna do is I'm gonna right click on it, and the new layer is going to be instead of a raster layer, it's gonna be a vector layer, and we will call it. I typically call it Hank and we'll go ahead and we'll call that ANC. So this will be our inking layer now, rather than jumped directly into things. I want to give you a quick lecture on the kind of Anqing that we're going to dio because we're not gonna use the pen. We're going to use a spine to more or less trace the outline and draw the major lines of what we want out of our drawing. Let me show you what I'm talking about. I'm going to get rid of all of our background stuff, so we just have a white piece of paper and I'm going to start drawing lines on this vector layer, which differs from the raster layer we've been working on for sketching raster layers. Air. This bid is is black or its red or it's slightly purple. It doesn't bit by bit vectors, actually set up points along the vector and then have calculations that define how the points connect. Let me show you what I'm talking about. I'm sure you're confused by now, but if I go to the pen and let's set this up, okay, it's on four. That's good. So I draw a line just white. Let's go to the color and we'll make it black and we don't speak a thicker to something more like 12. There we go and I draw line. Now this just looks like a same line as on a raster layer. But notice this. If we come down to this funny little symbol down at the bottom, which is, it could be many things, but correct line is one of them, you know, remove dust and control point in all these things pop up there in the menu, but it's a very bottom up above the color control. Now, if we choose control point, let's go over to this line that we just drew. Look at all these points that popped up because of the jiggly nous of me drawing this line using a mouse. Actually, it has many points at which the direction or the calculation of the line changed. But it has far less to store notice vector files in vector drawings, our farm or efficient than raster. Because rather than storing every point on this line and what color it is, it just stores the major points at which the calculation for the curve of the line changes . And then it puts in the new calculations so the line can continue to be drawn. And what it becomes is a vector or a number of points along the line, rather than being a raster or every pixel line being drawn. Now, these air a lot of control points and by the way, any of these control points weaken. Grab it and we can change the vector line. So if you didn't like the way that you drew something, you just go ahead and you grab it and you modified. But First, we're gonna reduce the number of vector lines. To do that, you say Simplify vector line, and this is under once I can. It's the correct line tool right up above your color palette down in the lower left hand corner. You gotta correct line the one on the left and you say the third option down. Simplify vector line. Now, what this is going to do is it's going to give you a tool which you can use to select the line you'd like to simplify. And once again, let's go to control Point the top option on here, where you get to see all the control points you can drag and see that they're probably ah, 50 of them here. I don't know. We go to simplify vector line. We draw along the vector line that we would like to simplify and watch the line. The line just got smoother. All that jagged e nous that I put into the line is gone, so this is one thing that you could do with the vector line, and let's go back to control points. All those places that we can drag and see what's on the line now look, there is 1234567 points on the line instead of 100. It just simplified things. And now these major control points actually have a major influence on the line rather than just influencing a little bit. So that's the way that you can simplify a line that you hand draw. Now we're actually going to pull the line by creating a spine. But after we're done, I wanted to show you that vector line you can modify. Let me show you one other way that you can modify a vector line. Well, there's many ways, actually, but this is one of my favorite. It's called correct line with notice that there really aren't any points at the end of this line. It's all the same with that's because I drew it with a mouse so it doesn't have any pressure sensitivity. But I can say down here under correct line with right, we're still under this tool, the second tool up and the tools down here and correct line. And now we're at the and we see the fifth tool down called correct line with And if we look at the tool properties for correct line with We can see that I can either thicken by one here I can control how much I think in when I think in, and I can thin by 1.3 Interesting. That's a different amount, but I want to thin this line to give it thin tips. So I do that and then I come out here and I just keep stroking at the end of the line to what I want the line to be. And eventually I've got it set in a very, ah, very low thinning rate. So there you go. Now we've got it coming to a thin line, Notice that I can go to thicken and I could go to the middle of one and I can thicken this up and in fact, we can go to the very end. Let's thin this out again at the very end of the line. So these air, um, this is information's being started The vector that staying okay thin myself out right about here at this change point and do it this amount. There we go. Now, look at this very interesting line from the crummy one we originally drew that We were able to create by thickening and thinning lines. Well, let let me go through the whole process. Right, Control points. Here they are. I've got about seven. I think we calculated I can simplify a vector line by getting rid of all of those things, and it'll smooth it. Okay, then I can correct line with and I can thicken and thin the line. And at the same time, I can go to control points here and I can pull major control points now. Pinch vector line is another interesting one. This one has more major influence on the whole line, then just a control point. So if you want to do kind of macro changes to your line, use Ah, pinch vector line. I don't use it that much. I use control point Mawr and I grabbed the individual control points and move them around. Change my line to pull it in, typically to something that I'm tracing. So that's your quick little tutorial on drawing lines. Let's go ahead and will grab this thing and we'll get rid of it and let me bring up our host of backgrounds. And let's start drawing lines. The pulling vectors way instead of actually drawing. Let me show you how this works. We're going to go 20 where is it hidden now? This is a tough one to find. Notice. There's a little ruler here, the things that can show up over here on the left to find this tool, or either the direct lining to line drawing tool that we want frame drawing, rulers, streams or saturation, all cool tools. But they all show up with different symbols here in the lower left, so it's hard to find draw online. But it's hard to find draw lines sometimes. So anyway, here we are on draw line. Look at these different types of lines. I can draw a straight line, not very useful. I can draw a line with a curve in it. Still not really useful. What about this continuous curve? And that's what we're gonna use. So let's go in here and make sure that we have a nice, fine point on our pen, and I'm going to start tracing the outline of this penciled area that I've got. I'm going to start banking, basically, so this is the simplest of banking. Let's go ahead and rather than grab the pen were using this arc tool Continuous curve under direct draw. And all you do is you pick a point. First of all, let's zoom in. I'm gonna pick the hand here so I can pull this over and I'm going to draw a line here down the side of the body and this skirt, so let's go ahead. And here we go. Here's the line. So I'm gonna start right here in this intersection. Now watch what happens here. Here's a straight line, right? I don't want straight lines, but as I move on and I curve this just clicking along her body outline, it actually bends the line to conform to what I'm doing. So I just keep clicking mawr less along this line. Now that really took off until I get a nice, smooth curve. What we want is nice, smooth curves, typically right here. We're going to go round a corner that isn't particularly smooth and let's end it there and notice it draws the line. Now what can we do with this if we don't like the way that this line conform, like here, it looks like it's out a little bit we can do is go to the bottom, right? Control point, Let's get close to the line. And here it is. And we can move that in a little closer to the body and get rid of that white space. So all of these control points are available now, you don't really need to minimize the control points as we did previously because you laid them down. You decide at the number of control boys that they're gonna be here now at any time, I can go over here to the I on any of these layers and wink them out and see what I've just drawn. And here is the curve that I've just drawn. It's pretty smooth and I'm gonna wait to ah, slim and thicken the curve until I see all of my curves together. Now it just so happens that if I keep on doing this, I'm going to end up with an inking curve like this. Here is the woman fully inked and I've done is I've pulled lines all the way around her. I assume you probably wouldn't like to see that. The next thing that I did was that I went to a correct line with and I did thin with. And then I went to the ends of the lines that I wanted to be thinner the folds in her skirt and I fend them down. I also did the same with this line, this part in the middle of her head and the V down here of the bottom, her neck. So this is the way that you end up outlining the original character. Now I can pull back in the original character. So you can see here is the three D figure. And here is the drawing or the You have the drawing layer that I did. And here now is Thean inking layer inking layer that I've laid down. Okay, lets end it there. 5. Smith Micro Graphic Tools Overview: Hi, everyone. I wanted to put together this quick video just to kind of bring people up to speed with what I've been up to lately. And it's been primarily playing with tools by a company called Smith Micro and these air graphic tools. The school's tools are specifically manga, studio animate, studio poser and motion artist. Now I'm giving my experiences, which are very limited with these tools. I just happen to stumble upon these tools, thought that they were kind of need, and I thought I'd lay down some of the information that had gathered so far that I wish I had access to when I started using the tools. So let's get started first. I want to talk about that. The tools breakdown primarily into four categories. There's a thing called Clip studio Paint Pro or E X. It doesn't quite trip off the tongue like its old name, which was manga Studio five. Those are equivalent. Don't get confused of you, see or hear the two of them clip studio paint. E X is the same as Manga Studio five E X, and that happens to be the extended version. Next, we have a two D graphic product called Anime Studio, and here we happen to be showing the pro 11 version. Then they have a three D animation product called Poser, which I use extensively. And finally there's a product called Motion Artist, which seems to pull everything together to present it in an interesting way. Or at least I'm going to show you what I think is an interesting way now. This is all available at smith micro dot com slash consumer of you Just go to smith micro dot com. You're gonna end up seeing all their other products and not just their consumer graphics products, which is what these are now. I want to break these down as to what each of these tools do and the versions of them. So let's jump right into that. The first is if you want to draw comics, then clip studio paid pro or a manga. Studio five is pretty much becoming the standard. Now it's big competition, interestingly enough, is Adobe Photo Shop. Of course, if you already have that product, you probably don't need this one. You have the, uh, the big boy in the room. As far as doing things now, notice that there is a pro and an e X version of this tool, and I'm going to talk about what the cost is as faras upgrading and what's in them. Next, we have two D graphics, which I don't have a lot of experience with. I own Animals studio debut and not the pro version, whereas I do own the clip studio paint E X version, and I don't have a lot of experience with this product, so I'm gonna have to report in later. In the meantime, I use Pose ary 11 a lot. I upgraded briefly to the pros or pro 11 version, but I have thought that paying $175 for an upgrade on a $200 product was excessive, and I got my money back, which they actually were willing to return. Finally, if you want to add some motion to your comic strips than you can do it through a product called Motion Artist, we happen to be a version 1.3 right now. So those are the four products that I'm going to talk about, and it's significant to talk about the different versions because, oh, here comes a detail laden chart, but we're gonna break it down and look at it. A one at a time clip studio paint pro right now is going for 20 bucks. Now, if you get nothing else from this page, noticed that there's a huge price variance. So shop for a deal. I just picked up the deal of picking up the E X extension to clip studio paid for $87. Now notice the alternative to this product is Adobe Photo Shop, and if you have that you don't need this product at all. You should be going, going and looking at photo shop classes. You've got the premier product already. Now notice that the E X extension provides little more than multiple comic page management and export. In other words, you can create an entire comic book in the X version, whereas in the pro version you have to create your comic book and exported a page of the time and put it together using something else. Now I would say that $20 is a great deal on the pro version if you happen to stumble upon it. But I would actually be a willing to pay the extra $67 to get the e X version. I wouldn't be willing to pay $209 for the X version, so watch out for deals here once again. Anime studio. I know little about it. I paid $29 for an upgrade from Debut 10 to debut 11 and that's all I know. Poser. I've been using Pose a re 11. I bought it for $199. I bought an upgrade for $175 to pro, and then I returned it because the pro version, the only thing that it gives us an extension is the fitting room. So fitting clothes is to flows. Closed. Two characters. I thought $175 was a lot of money for that. Now notice that poser 11 itself has a competitors, Ah, free alternative nosiness Daz Studio. Now I have downloaded that as well and have played with it so far. I'm more comfortable with poser because that's where I started. But both tools seemed to be pretty equivalent. So check out Dad's studio. Finally, if you want to add a little motion to your comics, then pick up motion artist. I think it's a really fun little tool, but this is Ah, you know the icing on the cake. So what software and hardware is required to run this stuff? Well, you have to have the latest Mac ER or Windows OS. I happen to be running Windows 10 and a high end PC or Mac with at least a gigabytes of memory. This is just oppose. This is to support both riel time and rendering rendering takes forever, the more memory, the better. I wish I had 16 gigabytes on my system, but I only have eight. And you also need a lot of this space. I have two terabytes of disk space on my system, and I'm 1/4 full so far with graphics files. And finally, this is a requirement you may not have thought of. But if you're going to draw, which means particular, you're going to use Mangga Studio and you're gonna do digital drawing, you will need a tablet, and I happen to own a Wacom in two O's pro medium, and I want to talk with you about what that means. So let's look at some pictures here on the left, we have the Walkom Sin, teak tablet and notice. The wild price ranges from all the way from $800 up to $2500. These are the systems where you actually get to see what you're drawing on. This is what all drawers and and graphic artists drool over. But the price is so extensive, so this particular device is out of reach for most of us. What I have is the walk common to us pro medium. Now, the reason that I got the medium instead of this small is because I have a 27 inch monitor and I was told or saw advice online That said, you should get a bigger tablet, go with the medium instead of the small when you have 27 inch monitors. Now, the final option you've got If you notice the price here, you're talking about $300 for the medium, but Onley less than $100. I've seen them down to maybe say about 84 99 for these Wacom and to us art. Pen and touch small tablets. Now notice that there are Walkom small in to s tablets for as little as $74 But they don't have this touch capability. In other words, you can use touch gestures. You can use two finger gestures. You can pinch things to zoom in, you can. And so when you're gonna want that in your tablet, it's worth paying the extra $15 or so, so make sure you pay attention to that. And in talking with my brother, he said that he once owned a wacom medium and returned it and got the small because he found that it's much easier to draw and diverse the screen with the small. And, you know, based on his experience, I haven't noticed that or his comments. I've noticed that it is a little hard to diverse the screen with my tablet, so I'm going to go with my brother's choice here and recommend the last, less expensive Wacom tablet. If you don't have one, consider, you know, $85 as little is that and what additional hardware and software I have a blue yeti USB microphone that I'm recording this little talk using. I use it some times and narrate my cartoons. You might consider it. I use a product called Camp Tasia Studio eight, the video editor, to pull everything together in a timeline and mix it with music. And speaking of music, I use Magics Music Maker 2016 to produce music That's free for me to use, and you're gonna hear examples of that in the videos that you're going to see, and I use audacity sometimes to record my voice and added into products. Now be sure also to account for the purchase of scenes, figures and props, all kinds of additional extensions to the base products that you can buy those cost money now to talk about how much money here. I'm probably in in just putting my graphic stuff together, including the expensive $300 tablet 26 88. And then I've got some other tools and, you know, we're talking about $1200. But before a scary away look at this instead, here's an entry level digital artist investment. I would recommend that you get manga Studio five E X for $87 But if you get the deal of $20 you just really strapped for cash, go for that. Get Dad's studio for free pick a motion artist. If you'd like to play with adding a little motion two year comics and it's only gonna be about $30 then I'd recommend around in the price range of 85 to $100 for a Wacom small tablet. But make sure it has that touch features that you can use your finger gestures to manipulate your art. Now I'm gonna show you three videos that I put together and what I've used to put them together before. I show you the use the tools to work on these. So the 1st 1 is toe to get poses and renders. I used Poser 11 for this video, which is called a man Walking into the Rain Walking in the rain intro. I then merged them with backgrounds and dialogue balloons in Manga Studio five to create a standard cartoon. So I had three D heads and characters and stuff like that being merged into manga studio because I didn't want to draw, and then I used motion artist toe had some movement to those cartoons. I finally pulled everything together with sound and so on and can Tasia Studio and I put it out to this u R L which you're seeing down at the bottom of screen now there's no way I'm going to read you. This. You are. You're just gonna have to pause this video and go and type it into a browser. If you want to go watch this video, OK, once you get done, then we're going to talk about another video that uses fewer tools. It's a book trailer for a Siri's called Butterscotch Jones, and it's just the beginning of it. It uses poser to render a plane, and it uses background clouds and a person's head. And then it skips manga studio because I wanted this cartoon to be more dynamic so whole the individual pieces inside of the cells of the comet can be moved with motion artist if you eliminate manga studio. So this is an example of doing that. And once again, I pulled it all together in Camp Tasia, Studio eight, with the sounds of the end. So check out this example for just using these two tools. Finally, we have an example where I created a three D animated video and I used Camped Asia Studio to pull together sounds and edit and so on. And this is the location of this video. The next thing that I'm going to talk about is poser. You notice that shows up in every one of the scenarios that I talked about. And so I'm going to show you how poser three deposing works. See you soon. 6. Conclusion: I want to thank you for taking my course Digital figure drawing using three D models and clip studio paint. I hope that you learned a lot here, or at least the beginnings. Enough snippets to get you interested in this amazing drawing tool. Now here's what we covered in the course because they're covered posing three D drawing models. Hopefully, you understand how to do that and how to sketch do crude sketches of these figures. Then finally, how to do your detailed inking with vector graphics that give you complete control of the smoothest thickness off the line and contours and so on. And then I gave you an overview of two planned lectures that will come if you support this course. And finally, an overview of the My Smith Michael Graphic tool set, which included poser and other animation and drawing tools. So that's it, and I'd like to thank you for taking the course. Please leave positive reviews. If you'd like to see more and that's it. I'll see you in the next class