Digital Painting: Characters (Clip Studio Paint) | Jack Dreger | Skillshare

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Digital Painting: Characters (Clip Studio Paint)

teacher avatar Jack Dreger

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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

6 Lessons (1h 4m)
    • 1. Introduction

    • 2. Idea Phase

    • 3. Drawing part 1

    • 4. Drawing part 2

    • 5. Painting

    • 6. Conclusion

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About This Class

Follow along with me as I demonstrate how to design, draw, and paint a character in Clip Studio Paint.

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Jack Dreger


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1. Introduction: Hello everybody. My name is Jack Traeger. Welcome to this course on character design and character painting and clips studio paint. In the process of this course, I'll show you how to go from a blank canvas to an ideation stage, to a character drawing black colors and a painting. So watch along with all his courses and lessons and leave your own project below at the end. And hope you have fun watching all these videos. Thank you. 2. Idea Phase: Okay, let's start creating our character for this lesson. First, I'll talk a little bit about the program and the software and the hardware I'm using. Because I know I might get questions about that. So this obviously in the title is clipped studio paint. And the tablet that I'm drawing on is an XP Penn. Well, it's a tablet with a screen that you draw directly on. Although obviously good studio pink commutes with any type of tablet, whether it be a wake home tablet where you draw on one tab and look a different screen or more like CTQ type thing. We have a screen that you've drawn like this. He doesn't really matter what you use as long as you find what's comfortable for you. This thing was was not too expensive. And it works very well for me. So to start creating a character first, we want to think about what kind of country we want to create. We want to have some parameters in mind that will help guide us through the character creation process and the painting process. So I thought about it a little bit. I want a female character. I was thinking a fantasy setting. And perhaps fees. Moreover, a barbarian, almost like Dragon. Dragon she and I have an axe. Maybe lost her armor. More stronger build, right? So we're going to use these things in the creation process to lead us to our end goal, our end product. The first thing I like to do when creating a character, just to make a simple, a very simple mannequin version. And for this, I like to use a symmetrical ruler just because it makes the whole process faster and this is not our end product here. This is just to guide us along the way to think about the design of her armor and her build. So I'm going to construct a very quick, very simple mannequin of a person, right? And then on top of this mannequin, don't worry about it looking good, anatomically accurate. For now, we're just trying to get an idea of what we might want on our character. So like I said, I want to for armor, I want strong, I want fantasy, right? So I might start off with almost a for like on top of the torso. I'm gonna lower the pathogen manic, it's actually withdraw. Do you know how they have those buckles? Old Vishal cloak, the rest of the armor and then maybe it goes over like this and falls down low on the back and be in the back. Ground. And other things you can think of is a torso armor they would wear on their chest. And I'm thinking I don't want I don't want heavy plate male because that's more, I'm thinking more like a night than a barbarian. Might think of leather, leather infer, armor. Maybe they have a giant kind of leather and a series of Bell's across their waste and abdominal section. And then a leather kind of breastplate stitch together with a shirt behind it for their pants. Or what they might look where lower, I'm thinking a almost a bird skirt that would lay over the rest of their pants. And then baggy, looser. Not really armor per se, just clothing, baggy. Those with maybe dinner booths. And same kind of idea. On the hands. Maybe gloves with bursting out and then maybe bare arms. And then if I take the symmetry tool away, I might want a animal's skull. I think that would be kind of cool on preparing animals go on one shoulder and no helmet with character. And we can draw in what the general shape of the acts might look like. But I'm going to work on the main design later. So this is a just a very sketchy, loose start of a drawing that will just help lead us in the right direction as we progress. 3. Drawing part 1: Okay, so after we have our main idea of what we want and the closing that we're gonna go for. But I like to do is that this isn't a concept. Art pieces is more of an illustration. It was concert. I might want a front and back view, side view of the detailed figure. But I'm going from more of an illustration style. So I want to just oppose. And I went to our character in and for that. And we start with a simple construction of the form. And then lower they passed beyond that and work over it. So start with the head the head into the left. We've got that letter. And for full disclosure, I do have reference open on a different screen of an animal scolded them use for shoulder pad and some general anatomy. And I recommend that everyone uses referenced when doing any type of art is to make sure things are accurate. And, you know, it's not cheating or anything. To be able to look at things that exist and take inspiration from the artist's lungs. You're not plagiarizing. So let's start with maybe a whole body facing left. And they are also like do and recommend a ruined does is to constantly flip the canvas back and forth and make sure everything looks good. Because you can get if you're looking at the cameras from one side the whole time, you can get used to the mistakes and you might not notice them anymore. Let me get back and forth the hope these mistakes pop-out UK. So she's going to be looking left holding. I want her to show up. And this is not going to be I don't want her to be fighting or anything, but more of a an aggressive stance, maybe she's ready to fight. Will go there. This reminder that the stage is not kinda make anything look good. The multi-lateral agencies just telling more guidelines that will help in the final product. I think that's kind of the main idea of him working on demonstrating with these past few steps is just the further you can go in the preparation step, the more it's going to help you in actually creating the final image. I'm not too worried about individual anatomy because most everything is going to be covered by armor. So I want the forms to be there. I wanted to construction to be president. I'm not worried about showing every single anatomical detail bigger. Once again, the beauties of digital art has been erased and rework things at you might not like. Once I find something I'm happy with, which I think this is going to work pronounced and reduce capacity on that. So I don't get a computer to new lines and we can start our actual drawing. Though. I'd like to start with the face just because it's the most. And in details of ETL, everyone looks at first when viewing a piece of art. Just like psychologically we're drawn to face the eyes specifically. So I do have reference open of different phases at different angles to help me remember anatomical landmarks. Again, I recommend you do the same. Not going to be copying 11 for one, but it's just going to be helpful. And my process. And for those quick tip and anatomy. But eyes halfway up ahead, mouth halfway below that, bottom ellipse, halfway between that and the bottom of the chin. And as I'm doing this, I can explain a little bit more about the pens I'm going to be using. The drawing pad I'm using right now is a a a pencil I downloaded from the website. I'll link it below and the project description. But that creates a great artist and he has a lot of resources available on its site. And honest YouTube. I'm sure you've already heard of them, if you are used to watching aren't views on YouTube. But honest site has lots of great resources, including the background and reason right now, the paper texture that is from his site as well. And I just find having a background that's not white. She's really hope will. First of all, getting colors right. And second of all, you share my screen for too long. The white screen can definitely put pressure on everybody's. But yeah, I have a lot of problems with just looking at a blank white screen. Similar to flipping back and forth. I'd like to zoom in and out. Later on you might want to see me. Keep it at a pretty zoomed out perspective and not switch it too much. Which I find helpful, but I'm working on the face and I want these specific details look right. I might zoom in more like what I'm doing here. Her mouth, look with it with expression. And at any point during the actual drawing stage, if you find that doesn't exactly align with the original forms you created and you want to switch it or you want to adjust things is perfectly fine. Don't be, don't think that you need to almost be like a slave to your original construction. If you're going along and you see something that works better than what you already have. I say go for it. Just because they could make your image better in the long run and you don't want to regret not changing something equal to o. So the way I tackle digital paintings, the characters might not be a universal way, but the way I found works for me. And if you take a chunk by chunk of work and the faith now move onto the next section. Flush that out, work onto the next one. So on and so on. I know some people prefer to do almost a quick detailing of everything and then take it in steps and work on everything at once. I found that I kinda get distracted and just try to flesh out individual parts first. So you might look a little scary. But as kind of what I'm going for, I want a strong barbarian warrior. I'll maybe I'll give her like a scar across those were something like you've seen Battle. Someone doesn't want her hair to maybe get in her way. Keep the back. Perhaps others where she comes from might go bald completely just to focus on more of a warrior lifestyle. That's kinda how I remain. Just keep attention as I'm doing care designers try to think of the world and the characters n. What is the reason that they might look like this? What are their culture like? If you're interested in more about writing, I have other classes about writing cultures, but the drawing is my favorite aspects when it comes to actual world-building, mechanical design. Curly hair. In this step, what we are getting closer to the end process, each step we go along. Don't be afraid to make messy marks that if you find that it's going to lead to better results in the end. We could always fix things up in a painting stage where you can go back over with an additional inking stage. I have to get things done as few steps as possible. But similar to everything in this class are in general, you need to find what works best for you and stick with that or improve on that. Because advice from other people, well, certainly useful. Too much of it can get in the way of your actual creative process. I found a list. And I'm going to say, well, we should always remember to save. Ok. I think I'm actually pretty happy with it doesn't need the obviously haven't done the first guys. I'm happy with other Facebook. I like it. So we can move onto the next steps. The Skoll. Let me do some other layers that'll actually work on this later. As you can see, I have later Morgan here into construction layer. And then my notes, the school I might leave for later principal construction now, but I think what I wanna do next is work on the for her for a cloak. So I'll put in the little wherein we might connect to her. Leather grass. Curious. I not sure how to pronounce that exactly. Ie the ortho piece. I don't want to go in high up on our neck. Almost like she's hunched over a little more than an up going down her over her arms, down her back. And maybe this time, what I want over here, over her arms around them. Down the back, back. Destruction layers are students who are working on, and I'll add more detail in the painting stage. But the general shape of the textures on OK, what I want to convey here. And these buttons, maybe they'll help. Either bound or leather made a little pattern on them. We might see, in a more craftsman design, make things a little more believable. Like I said, we can add more, I think, a more value in more detail in the painting stage. I don't want to cover in too many line marks right now. So maybe we can move on. Working on her shirt and leather chest piece. Okay. Well, I wanna keep it keep it kind of not technical, not like a a detailed designs. He's more of a barbarian from maybe a nomadic society. Just keep it simple. Cloth with, with strands tying it together. And then her chest piece would go and wrap around it. That gives me some depth. The motor shirt cross over like that. Make sure it looks okay. These are really nice way to show perspective as well. Since her, her left is closer to the camera than heart rate will have the higher space on her left side. And we go and put in some ditches, ditching details, scuff marks, and our shirt would go and meet where i want her for leather belts start popping up. 4. Drawing part 2: Now an issue there is a tangent between her cloak and a leather belt. Changes from two lines. Two lines meet and you don't want it to meet. It can create a might not look as good as more scattered line detail. So I'm actually kind of happy without coming out. Maybe I'm just having a good day or something. Because the process of creating character is, it can be, it can be frustrating to create something, have idea in your head and try to create it on paper or digital software. So don't get, don't get too concerned if you're having trouble with any of these steps. It's a, it's a, it's a long process and it takes a lot of time and practice to get used to it. Honestly. I'm just having a lucky day with it and seems I want leather straps to come across and maybe maybe big metallic belt buckles are buckles in the front for the scraps to go across. Like so. And clean up some of that detail. Maybe craftsman stitching, things like that over here. And have it look almost like everything is not exactly homemade, but it's not. Mass-produced. Was made by artisans, are craftspeople in their culture. There's maybe some significance to how things are. And later when we add the skull, there's maybe significance in the animal culture that have maybe religious purposes. Maybe they respect the animals and have it on there for as a religious symbol. Or maybe they're more of a bloodthirsty Barbarian Group where it's just a symbol of dominance, conquering. Once again, these are the things I think about when creating characters. I think it's one of you. You create stories to your images. Tangent there. It was. So far. I'm like I like how it's coming out. Now. Next I want to I'll save her arms and weapons. For last, I'll grab her skirt. The first skirt first. It's going to be pretty similar to how the cloak was. I wanted to tackle maybe separate layers overlapping here and I wanted to actually kind of come out above the domino piece here. And maybe there's a strap. Ui. I like the idea actually. Let me just I can see I'm looking at an NBA strap kind of holding it. Holding it to her. Almost like a small rope. And then we'll come back out here again. Like so. Yeah, looks good. Maybe there's a string like that. And her legs her pants. I think that looks pretty good. Layers like more like her leg is going forward. I think having it come back and just putting some variation of the shapes there. Good. Now, can worry too much about that since mostly going off RAM. Once again, if this is more of a concept art piece, I would show the whole character front and back and side view with accessories as well. Illustration here, so the post is not include everything. So our arms, I said the majority of our arms are going to be bear. And then you can have glimpses bursting out of them. I'm going to do some separate layer. Well, her anatomy that look yeah. We thank you. That bicep definition from then. And this is where her the globe will stick out, reshaped. And then do the same thing. This arm got older, that this is more overlap than I expected. Oh, well, then her glow up here. And you know, what I always like to see is those, those kind of bands is metallic bands that you see in films and historical. And I'm armor were they they wrap around the bicep? I've always thought those local coming out of the erasers. Clothes and a glove. Kind of letter a with them. Straps them, bands going up on them. This hand is more, you know, not completely clenched, not loosely. Pairing for something. Maybe knuckle knuckle kinda patterns on them. And we're almost done with the drawing portion of this. And then we have to design the acts. And for that, I am also going to use the symmetry tool just because I want the drawing parallel straight lines. If not the easiest thing. The symmetry tool actually is that the angle is fine. Now, I kinda like that. Okay. And what about that? Double double-sided acts? Who's offscreen? Just kind of random. Anymore. Wear and tear on it where it actually is gonna meet the hand. And yeah, so after a weapon and now I wanted to work on the skull on me. I'm gonna reduce capacity for everything here. And that's a shame. Say I do like this area or for deliberately good. Once you've put on this call. Once again, I do a reference for this goal. And we just place it in. The form is going to be to make sure everything looks good. This is animal schools is maybe he has horns. I don't know. Yeah, I think it will make a new layer again. And we can start putting in the detail. Go schools or something if you've ever watched the FCD design school. He talks a lot about how animal schools are something that you can kind of get away. Withdrawing incorrectly. It's because on a quick glance, a lot of you all might not know the specific anatomy of different animals goals. And so if yours looks a little improper, it might not be noticeable to just the passing I that's different from a human face. If people know what the human face looks like, they can see the imperfections. And they can know if you got something wrong. But a, an animal based or animals goal. People might not realize what you're. If you have any mistakes. I can put in details with kind of the sutures and also the fractures that this goal is goal is broken. And the reference and I kind of like that idea. Correct? And I am the horns go. I don't really want to cover interface to lunch. I'm just going to adjust that. They don't want that look higher. And some detail. Just kind of overall race, race the firm behind it. The backup. I mean, look at it from different angles here. So you know, I feel about it. I don't like this. I do like him. Let me go further back in here. And that's our That's the drawing. And the next step will start coloring it and painting. And we go. 5. Painting: Okay, the first thing I'd like to do and coloring is I made a layer underneath on drawing and I'm just gonna block out all the shapes in just one bland color on flat color. Now if you're a cleaner with your lines than I was, this step can actually be a lot faster rate the auto select tool to select everything and invert it. And it should allow you just build in like the fill tool. But my lines were not that clean. Just how I work. And I'm going to do it manually. Okay, now that that process is done, we can start actually painting it. Now. If you are going for a more fine art, realistic style, you might wanna paint over the line art. And to get rid of the lines eventually. And my style, I'm, I'll even lines on top almost in a more like a comic book II style or a character art. It will kind of like this. We'll paint under the lines. And for reference, the brush I'm using is just a and a pasty round brush. Where through round brush where the harder you press, the more opaque it's going to be. It doesn't change with, with with, with the IRA pressure, but it does change opacity. First, I'm going to try to tackle the face. Just get, look. I'm wanna go for skin tone. Now. Excuse me. If, if these colors in the end a little off, I am partially colorblind. So it looks right to me. Might not be accurate, but it hasn't been an issue so far. I've found. And this is something I'm kind of IMF and thinking of. When you're drawing or painting, you want to think about where you're coming from. The, you can see where you want to place your values. I am thinking of a light source coming from this way and hitting the front of your face directly. So I'm going to highlight different areas based off that information and put others into shadow. I do want to sprinkle in some warmer tones. Well, everything and I can work those back later. Don't want to leave it to red. Something important I found in doing any art is that the shadows are very important. And you're showing off. And think about where you might want to place shadows. The final piece is that the whites of your eyes are not pure white. And if you make it pure white, it might be an artistic choice and my workout. But think about when you want to implement and how maybe a more light gray that work better. And use strong highlighter sparingly. I will end pieces like this. Once again, all these things are not rules but just things to keep in mind. Whatever works best for your r. And now I have all these arms. Now, like I said earlier, the face is going to be the center of detail, center of attention. Unless you have infinite time. It might be a good idea to spend more time on the face and leave other areas of the body or form with a little less attention, a little less detail. It'll save you time and it could work in your favor. Detail. Detail, attention, delineation. You just worry about bearing, highlights, important shadows. Light is coming from our left, her right. These plans will be more in shadow. And then I want her scars pop out a little bit too. Okay. Now I'm gonna move onto her hair. And I'll get the band going into her hair later. And with Heroku hair. Well, here I find that the highlight, the use can be very like the most important thing. I'll use them bearing Lee and arm. You do a little more on that later. Okay. One thing I'm going to hop in and do a quiz to a tonal correction. Level correction is not gonna show up on your screen because I have a recording only the window where if you were to edit tonal correction level corruption, you can figure out the tones and help you with your values a little more. Just to get things more. Looking, nice. Looking. Grab her little band wrote a book called the animal's skull. Now the next thing I'll having a color layer of color behind your paintings. You can give a nice tone that pokes through to the more non opaque areas you're painting. So pure way isn't poking through, but instead a tone of your choice looking through. Because with the brush I'm using, it can be, like I said earlier, less opaque at times. And that shows through, I don't want pure white light. Shadows or not. Work at all. Back to the middle tone. Just something very simple. Like I said earlier. And for that I might brush this brochures and more painterly brush. And I'll be really nice. Um, I actually MIT's management layer by layer in between the background color of the body painting and doing just don't actually cover the areas I just painted. Going with more of a white. I'll add darker bits later. Okay. That's the base color I'm gonna go with, but I want to add in detail with the texture of the brush. And these darker tones. To form and variation. Bring it back, out, back and forth. They're actually more of an orangey tone to it. Well, more variation, left, differentiation. All right, that's pretty good. By those layers. Next let me do I'm going to work kind of back to front through her shirt than the leather and the metal and the acts. And let me do a shorter shirt. I'm more of all these are kinda warm tones. I'll do it in a cooler tone, still neutral DO I don't want to differentiate. And color temperature. And have that real quick. And this area of attention of photos. Now, the leather, although there's going to be the same and the reddish brown or all of it. Maybe it's more of a tanned leather redder than a standard Brown. I'll go here. I think it's good. Pants will be different. Let me grab the metal hook is well, we should just these two areas. I give her pants neutral or highlight on the leather. Quick. Simple coloring is just the weapon. And for this I'm actually going to use the selection tool, which just lines here are with the metallic edge writer on the outside. And like US, bearing highlights. That's the basic coloring done. 6. Conclusion: Okay, so there we have it. Our basic introduction to designing and coloring and character and clip studio paint. Feel free to ask any questions down below. Leave a rating if you feel like it, and post your own design and painting in the project section of this course. Thanks for tuning in, and I hope you have a great day.