Intro to Graphic Novel Coloring | Reuben Lara | Skillshare

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Intro to Graphic Novel Coloring

teacher avatar Reuben Lara, Illustration | Animation

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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

11 Lessons (1h 22m)
    • 1. Overview

      2:52
    • 2. Creating transparent line art

      7:52
    • 3. Adding flats

      18:09
    • 4. Assigning colors

      6:12
    • 5. Import actions

      2:48
    • 6. Adding shadows

      14:37
    • 7. Adding lights

      11:08
    • 8. Light effects

      5:13
    • 9. Color shifts

      5:24
    • 10. Additional base color details

      4:24
    • 11. Conclusion

      2:57
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About This Class

Get ready to have some fun with your line art! In this tutorial, I introduce digital artists to some basic tools and production techniques for colorizing black and white line art in the style of popular graphic novels. You can follow along using your own line art or by colorizing the provided high resolution line art that I’ll be using in the demonstration. At the end of the course, you will have produced a print-ready, colorized piece of art that’s ready for various production uses.

I'll be using Clip Studio Paint and Photoshop to demonstrate the process, but the concepts can be applied in almost any digital painting software that features layer based workflows. I'm also providing downloadable action presets (for both Clip Studio and Photoshop) that are featured in the class that will help you get up and running quickly.

If you are primarily a Photoshop user, definitely join me, as I also hop into Photoshop to show equivalent methods. Even though some basic knowledge of digital painting software is expected, I’ll be clearly explaining where the specific tools and techniques can be found in both programs.

You'll need:

  • Access to digital painting software that supports layers and adjustment layers (Adobe Photoshop, Clip Studio Paint, Affinity Photo, other...)
  • Graphics tablet recommended

If you are unfamiliar with Clip Studio Paint, check out my free Clip Studio Paint Basics tutorial on YouTube

I'm excited to share this technique with you!

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Meet Your Teacher

Teacher Profile Image

Reuben Lara

Illustration | Animation

Teacher

My wife and I live in the heart of the Berkshires in Western Massachusetts, and we love being surrounded by so much natural and artistic inspiration! For the last twenty years, I’ve both freelanced and have been contracted as an illustrator, print designer and animator, diving into multiple disciplines, many production workflows, and many roles of project responsibility. I also spent about nine years at a non-profit educational organization as an art director and illustrator. But regardless of where I’m at in the creative pipeline, I join fellow artists in aiming to create imagery that triggers a response in my viewers, even if only for a moment of pause.

I enjoy sharing my techniques with other artists looking to expand their painting and illustration abil... See full profile

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Transcripts

1. Overview: Hi, I'm Rubin Laura, and this is intro to graphic novel coloring for digital artists. In this course, I'll be showing you some basic tools and production methods to colorize black and white liner in the style of popular graphic novels. Now you can feel free to use your own Leinart or download that provided ah, liner that will be using in the demonstration to follow along. And at the end of this course, you'll have produced a high res, print ready colorized piece of art that's ready for various production uses. Now, I'll mainly be using clips studio paint for this demonstration. But the concepts can really could be applied to any digital painting software that features layer based work flows. In fact, I'll occasionally be switching to Photoshopped to show equivalent methods. Now, even though Photo Shop is absolutely an essential and valuable piece of my professional workflow, I hands down prefer to draw paint and color in clips studio paint. It has an incredible brush engine, is super affordable and even has a few tricks up its sleeve that even Photoshopped doesn't have. That really makes a coloring Lehner even faster. If you'd like to get an overview of clips, studio paint, basics. Make sure to check out my free course called Clip Studio Pain basis Basics. There's a link right there in the description, and they look at you up and running in no time. Now I'm hoping to have at least a basic knowledge of digital painting software. But either way, I will be clearly explaining where the specific tools and techniques techniques can be found in both programs. All right before we get started. Here's an example of the final image will be making now have uses technique so many times and client work. And I love it because it's nondestructive. It's consistent, and it's easily adjustable, which means that it's easily are direct herbal. And that's a huge plus when dealing with clients that can potentially ask for lots of changes or variations to break it down. As you can see here, each element contains a flats layer, ah color layer and one layer dedicated to each aspect of traditional lighting. As you can see here, shadows, deep shadows, bounce, light highlights or key light and then, of course, our speculum lights. And because each one of these layers is an adjustment layer in this case, a curves adjustment, intensity and color of each attribute is totally adjustable and edit herbal later. Lastly, the top folder contains a final effects pass. It's very easy to build, easy to edit, and more importantly, it's easy to follow. I've seen many colorists have files with so many layers that were added organically, we might say haphazardly that at the end, even though the result is beautiful, finding the right layers to make changes to can really be a nightmare. So this method just keeps everything in its place without sacrificing creative flow. All right, can't wait to show you how it's done. What's diving? 2. Creating transparent line art: all right. The first step we want to take is to prepare our Leinart. Now. Making sure your document has a high enough resolution is key to a successful image. I won't go into detail explanation of resolution here, but if you don't quite understand it, the best way to ensure you're starting off with a good set up is just to import your liner into a blank document that you already know has enough resolution. For example, here is a typical piece of line art that you might find online. It looks good on screen, but is it high enough resolution for a reliable print? Well, let's see. Let's create a new document with dimensions of something we already know, like a letter size sheet of paper. So let's set this two inches and we'll just say 8.5 by 11. And let's just kick this 2 400 d p I, which is definitely more than enough for a decent print and create a new document. Now let's import are downloaded liner. So all go to my bride, browser and right click Say open image in New Tab and we'll right click here and say copy image and then just go to our document and hit paste. The suffer will automatically set it into the space according to its resolution. So I'm going to hit, uh, okay to get my move tool and just move it here to the center. Now, as you can see, if you printed us how it wouldn't even cover 1/4 of this page. Why? Well, because our document is high rez and our liner is not so. If we come here to our at it and change imagers resolution and we just go ahead and change our units two pixels, we can see our document is over 3000 by 4000 in its width and height, whereas our Leinart is only 640 pixels by 667. And so that's why it's being set so small on our page because it's really not made up of that many pixels. So we would have to resize this art within the page by transforming it meaning command T or control T and just scaling this up now, while you can definitely scale it up like that is you can clearly see it's not optimal because the image quality starts degrading whenever you have to scale up so much. So if you aren't creating your own Leinart, make sure that finding download our that is at least around 80 to 90% of the final size. If you're going to be scaling it up now in, our keys will be starting out with some word that I already know is a resolution I need, because I made it and there's lots of ways to bring it in. This time. I'll just open it up and paste it. So we just delete that particular laying out there and we'll say, file open. I'll go to my Leinart The one will be using in our demo and I'll select my layer hit control or command See which is the same as going to the edit menu, saying Copy coming toward in document and hit control or Command V, which is paced. All right, we'll just move that right there to the center. Perfect. Now, unless you've created the liner writing your document from scratch, chances are it will import with a white background, as you can see here. So if I turn off my paper layer of my background layer, we're not getting any transparency in those in those white areas, just not super helpful, since we need any colors that we had underneath the liner to show through. So we'll coat coming here to this blank layer and just choose a color. Get to my pen tool and sure enough, colors I pay underneath or not showing through the lander. Now most tutorials will instruct you to just change the blending mode of the Leinart layer to multiply. So we'll do that. We'll come here are Skater Girl Leinart and set, multiply and now our color show through. Now this seems to be an easy fix until you need to actually color the Leinart if your style calls for it, and there's no straightforward way of doing this with this method of just converting it to multiply. We'll get into this a little more later, but instead I want to convert my black and white liner to black and transparent Leonard, and this will allow me to keep my liner on a normal blending mode while giving me the kind of transparency that I would have achieved as if drawing natively on a transparent layer. So let's change this back to normal. And to me, this is one of Cliff Studios. Best features. Well, come go here to edit and simply select convert brightness to opacity and all the white has been converted to transparency. And we get clean black liner because you can see I can move this around. It really is, is just It's fully transparent, as if I would have drawn it on that layer. Now I can lock transparent pixels on this layer and later on in the process, I can just re color that Leinart to any color I want while staying on the same blending mode. Simple and clean. Let me show you how to do this in photo shop. It's not a straightforward, but I think it's still with worth doing. Let's use the same method of pacing something into, ah, high rez document. So we'll switch this two inches. He 0.5 11 and 400 d. P. I Okay, you know, open up my liner. Now Photoshopped doesn't let you simply copy and paste a layer or layer groups from one document to another. So instead I'll just use my move tool and drag it over. Close this and I'm just gonna go into full screen mode here for clarity, and we'll set this to the center once again. We don't have that transparency in the liner. Now. Photoshopped doesn't have a create transparency Command as of this recording, at least so instead will use our black and white liner as the basis for a mask on a new layer filled of black. Then, after we apply, the mask will have essentially created the same result. All right, I'm gonna command or control click my artwork layer, and that gives me a selection of just our work that's on that layer. Also edit copy Command D to de select. Create a new layer. Make sure I'm on black in a cult. Delete to fill with the foreground layer. Create a mask all to click on the mask layer to go into mask mode. Commanded V or control V paste right into my mask. I'll hit Command D to de select, then command I to invert, and what that's basically does is it creates a new black layer with a mask that's just made up of the line work. So if I re click on this black layer, I'll turn off my original artwork, and I turn off my background. Now you can see we have that same result, which is a, uh, layer that's just black. And the mask is basically creating transparency out of all the white areas. Now what we can do is right. Click here and say, Apply layer mask And now we do have a clean black and white lander layer. It's not too complicated, but it does require a few steps. Now, fortunately, I've created on action, which is available as a download on this project that automatically does this for you, and so that makes it makes things a lot easier. It works best on the liner before bringing it into your document. So let's do that. We'll select both of these and delete that. Let's go ahead and open our skater girl Leinart again and will come here to our actions. And it's called convert Brightness to transparency. So we'll just play that. And there you go. Now, in this case will select all copy it and go ahead and just paste it into our high rez document. And sure enough, we have our are transparent layer layer. All right, Starliner is set, and now we need to add the flats 3. Adding flats: adding flats correctly and consistently is the key. Not only toe working as a professional flatter who will get hired again, but even for your own sake and setting a good foundation for each panel not taking shark it's here will help you take lots of shortcuts of later, I promise you. First, let's take a look at what a bad flats job looks like not to save time. A beginner colorist will just take the field tool. So I just grabbed my bucket and just start filling in colors So we'll grab the skin color here and kind of just going for it now. Obviously, this is wrong because we don't want to fill flats on our line work. We want to be underneath the line work, so undo that. Create a new layer and go ahead and make a Phil. Now, if we just used the bucket tool at its default state and functionality, well, that's obviously not gonna work, because the layer that we're currently on doesn't have any boundaries. So we want to use the version of the bucket tool that's called to refer other layers, and what that will do is it will look at any other layers that are currently turned on and use those boundaries. So let's go ahead and do that will fill the skin tones in again. But there are three main problems with relying on the Phil bucket on Lee. First, you can't rely on the liner having closed all the gaps. So, for example, will come here to the skateboard and we'll fill that. And obviously this gap is pretty large, and there's a gap here as well. This alone makes depending on the bucket on its own, a hit and miss method. Now a clip studio paints. Phil Bucket has a really good functionality, like expanding and closing Lehner, for example, if we go here and increase the close gap feature by a couple and let's go ahead and fill wasn't quite enough, but it was enough here, so we need to increase it one more time. And sure enough, it's closed that gap into that gap. Now it's done an impressive job, but it still isn't quite the result that we're looking for, and these functions will only go so far, especially with some styles of Leinart. You'll be doing much more cleanup than straight fills anyway. and also depending on the detail of the line, are you end up clicking a 1,000,000 times to hit every little miss hole. For example, we have here this edge of the skateboard, which you didn't quite get, and now we've kind of gone into this ravine that has to be fixed anyway. In the long run, you will spend more time than you're getting paid. The second problem with relying on Lee on the Phil bucket is there's lots of holes. Me turn off. My Leinart and the space occupied by the lions aren't always accounted for, and this can be a problem. If you're working for a job that's going to press. This could be super dangerous, since if the Leinart happens to get registered slightly off the color than the press, who would just take this color layer and move this slightly off, then all those holes and gaps will show up and you will get fired. Third, for the person who will be doing the actual lighting work, this flats layer misses the point of Y. A flats layer exists in the first place. It's not for you to make final decisions about color, but to provide a layer that serves as a selection mask for the entire rest of the process. In this case, not only do do we have a messy set of Phil's, but the anti alias ing on these fills makes it impossible to re select these colors cleanly for later use, for example, will go ahead and grab our Magic one tool. And let's say we wanted to change the color of this skin to something else. So I'll go ahead and select that and created by the color and fill it. Command D to de select, as you can see, because the Phil had anti HBs ing on it. Which means this a dithered edge, which is really good for some things. In this case, it doesn't work well for us because the Magic one wasn't able to cleanly select all that yellow. And now we have a yellow fringe on those shapes, and once again you will get fired. Let's see a good example of what the's fills should look like in this demo file, so we'll go ahead and turn off our effects. Layer our lines later, as well as all of our color layers and as you can see each one of these fills has a clean, non anti, a liest edge, and what this allows for is clean, re selecting later on, so I can go ahead and grab that color, select a new one, fill it, and the intersection between colors retains all its fidelity. So the solution is to use the lasso tool with anti a leasing turned off. Let's see how to do that. We'll come back to our lasso tool, and we want to make sure that our any leasing is set to none. It's usually set somewhere up here in the middle, so I just created me layer, make a selection and fill that command e. There's the alias ing, and if I turn it to none, we'll make a new selection. Fill that Mandi, and now we have a non anti alias to fill. I like to make a new sub tool just for flooding, that we don't have to keep thinking about adjusting the Lessel tools settings between projects because sometimes you do want and a listing to be turned on. So to do that, I'm gonna right click on the lasso tool and will say duplicate subtitle Let's just call this flattening lasso Well hit. Okay, we'll make sure that one's on none, and we'll go back to Original one and leave it on into a list. So now every time we click the Flooding Lasso will have the right settings. All right. Next, let's talk about three powerful ways to fill a selection so we'll go ahead and go to our flat unless, oh, like we're already on, we'll make a selection. And the first way is just to use the bucket to fill. And even here, there are two ways to use the bucket. We can use the fill bucket on the selection launcher, which is this little icon right here. And that's easy and convenient. The other way is to press and hold G on the keyboard that temporarily changes are tool to the fill tool. And we can go ahead and feel that What command E Now what We're talking about the bucket tool. I'm gonna go ahead and hit G to get to my bucket tool. I'm gonna make a dedicated Phil subtitle again, just like we did for the lasso tool just for laying in flats because, like our last So it also needs to lay in flats with no anti a leasing or other features. Now, in these cases, it did a clean fill because we had a lasso selection already made. But as you'll see when we start adding flats and we start butting one color up against another if Anti A leasing has not turned off, we're gonna have the same problem. So I'll come up here and right click duplicate Set Tool will call this flooding Phil and this particular one. Let's just turn off. Almost all of these options will turn off close gap and especially turn off into alias ing . So now we have a flat and glass Oh, and a flat Phil toe work with. Now, if flouting Phil is the last bucket that have used then, uh, whenever I create a selection and temporarily hold G, it'll switch to flouting fill and fill it immediately, so that's using the bucket tool. A second way is to fill using the keyboard shortcut, so we'll make another selection here, and the keyboard shortcut for that is option or alter delete. I use this often when I'm using my mouse, but when using the tablet, it's not always so convenient, and I prefer just to use the G method. The last way to create a fill is to use the lasso fill tool, which is a blessing from Japan. It's a little bit hard to find if you go over here into the direct drawing supper tool. For some reason, here's where the last of Phil is found and what last so Phil does is it immediately fills your selection once you let go. So there's no need to actually go to the fill bucket, so I'll make a selection like this. And as soon as I let go, it actually creates that Phil. One of the other nice things about last So Phil is I can use it in conjunction with paint with transparency, just like any of the other tools. So if I click here or if I hit, see which swaps between paint with opacity in pain with transparency, I can come in and, you know, quickly make adjustments to this shape. So I'm painting with capacity, and now I'm painting with transparency, making holes, pinning with capacity. Once you get used to how this last will fill tool works, it really is a timesaver in have blocking out big silhouettes and we'll be using this in a little bit. But I want to do the same thing with the lasso feel tool. So make a duplicate of that and we'll call this flattening la so Phil and will make sure that anti leasing has turned off. So I go back to my normal one, leave into a leasing on. Okay, we're just about ready to fill this in. One last thing I want to do is create a quick access group for graphic novel coloring. So we don't have to go around every corner looking for the tools we need so will come up here to window and open the quick access to a bar. I love this quick access panel because lets me create separate groups for different processes or different kinds of projects. So I have a quick access panel for painting for my white board animations, watercolor concept, basic painting and so forth. So I come up here and create a new set. We'll call it graphic novel, and let's just start dumping things that we're gonna be using here. So I definitely want my flooding lasso. I'm gonna hit G. I want my flooding. Phil, I'm gonna hit P for my pen. I'm definitely gonna be using my G pen. We'll put that up there and also like using the turnip in Let's end our flat ing less so. And also we'll be using the regular lasso felt a little bit later. Now these are all kind of in an order. So if you come up here and under change order, it lets you decide how you want to drag these around by default. That's set to command drag. So you don't accidentally drag things around while you're painting. So I'll hit uh, the command button and let me just change my, uh, last so Phil and flooding lesson feel together. And there's my flat glass only fighting Phil. And we can always change those around later as well. Okay, let's fill this in. Let's talk about a couple of methods first. I like this separate flats for major elements in the scene. Within reason, I'll be lighting them separately because making selections on those lighting setups will be much faster, as you'll see later on if we keep major groups in separate folders. Second, I want to try to lay flats in from largest to smallest shapes. Let me show you. Let's start with this girl so I'll create a new layer will call it flats and I'll say, Create folder and insert layer will call this girl. We'll do the same thing for the background and I already have a shortcut Set command G to put that in a folder. Can we call this background now? At first, I'm not worried about color. I can be. But for the sake of this demo, I really want to emphasize the role of the flats layer. So I'll be selecting random colors that don't necessarily make sense for the image. And you'll see why. Later, I'm gonna start using my flat ing lasso, Phil, and let's just grab a nice strong color like this and start laying in these flats. All right, I've sped up the process here in the time lapse. The whole thing took me about 15 minutes for this panel and every do sit about four here, but I did want to mention and just call it a couple of things as we see this here. I'm using the last So fill tool again. I just love it because it's quick. Um, and as you can see there, I use the pain with transparency, toe make corrections or open holes. And I think it's pretty obvious that the goal here is to as much as possible. Just that middle of the lane again just keeps a nice clean shape. Helps with registration. If that's an issue in your particular project, I'm using Ah, pretty old wakame into those three. I'm not using a cent ik in this particular demo. I like to do that because I know most people can't afford its antique. And um, yeah, just your trusty graphics tablet goes a long way in combination with that rotating your canvas. Okay, so after I've done the silhouette, I've locked the transparent pixels and now I can just make really broad shapes that go beyond the silhouette, and I don't have to really worry about hitting that edge again. In this case, I've moved the shorts into the shirt area because I want to get that clean color ed, but right up to the next swatch of color. So as I'm evaluating these big shapes, I'm kind of eating in to the previous color as you can see there even with those with the socks again with the hat moving it out. If they know that the hair is gonna overlap that get a nice clean overlap. So the more you practice adding flats, the better you'll get it just kind of reading the whole scene and understanding this concept of large shapes to small shapes again during the whole wheel, not worrying about the axle, because I know I'm gonna overlap the axle on the next pass. Once you start thinking about it that way, it really becomes a really pretty fast process here. I'm just doing some small clean up. Get a lot of this stuff, isn't gonna show one of the line work, but it just keeps a nice professional job. And, uh, your colorist will appreciate it, and you will appreciate it if you're doing the coloring after the fact. All right. It moved onto the background layer pretty much done the same thing. This case I'm just adding that flat all the way back. You can see in that case I initially added the line clean, and then I realized I needed to just eat into the bush because I want the bush, too, but right up against that concrete color and just take your time Put on some music can be an enjoyable process. See the final result. Get rid of all the little stragglers there, and I think we're just about done here. All right, we're done. And the result with this method is one flooded fields, layer per major silhouette or Cinda like foreground, mid and background. There's no holes. All the colors are cleanly aligned against each other, and they're not into a liest, which means we can cleanly select them. Now. Photoshopped Lasso Tool has fewer options for sure, and there is no lasso fill tool. But there are work arounds and let me take a couple minutes to show those. So here we are, back in our clean Leinart layer well, at a new flats. Later, there will do the same thing flats, and we'll go ahead and group that didn't call this girl and we'll go ahead to our lasso tool, and we want to make sure that an alias is turned off. So that's the default state of the last total, and we'll turn that off, and in our two presets, we can go ahead and add a new version of this, and we can call this flooding lasso. Photo shops tool presets create versions of each one of these tools, so it's not quite like making a duplicate sub tool. I think clip Studios Quick Access Panel is a little superior because we can divide tool groupings into processes. But this works just as well, and let's go ahead into our bucket tool and do the same thing. Will set tolerance to zero turn off anti Alias, and we can leave continuous on for now and we'll say, flooding Phil. Good. So we'll go ahead and just hit our L for lasso. You can open where color palette just like unclip Studio and go ahead and start making some some nice fills Hit G Temporarily and Phil Command E. We have a nice non into a liest edge there, just what we're looking for. I do have to say one thing about photo shops lasso tool. It is a beautiful tool because it has the additional functionality of letting you do straight lines while you're making a selection. So as I'm making a selection like this, if I hit the Ault or option command. I can go into this political mode, keep drawing, create further polygons, and that is a really beautiful timesaver. I hope that clip studio implements that features soon. It's one of my most requested features, for sure, but this does allow you to go ahead and kind of hit these edges a little bit quicker, in my opinion. But anyway, it's it given take because I really love clips, Studios lasso tool, and it's really not necessarily about the tool itself, but the final result. One more. No on flats. When preparing a flats file, make sure you follow the instructions given to you by your colorist, and I'm only suggesting separating your flats per panel and then productive player for this particular method of coloring. It could be that what's more helpful to your colorless is that you have all the panels all combined together in one flights layer, which is totally valid and may be more helpful in your particular job. Either way, the same principles and methods of play just flatten all your layers at the end, and you're good to go, all right. Our flats are done and next onto the colors 4. Assigning colors: all right. This part is pretty straightforward, and it involves using our new flats layer as a basis for the actual colors layer. So first will duplicate the flats and name it colors. So will come here and say duplicate layer. Now I've set a shortcut for that command. J the same. It's Photoshopped, and I'll do the same thing here for the background, and I'll turn up my flats so that, no matter what happens to the color layer will always have the clean flats layer to reload selections if needed. Now we can do one of two things if we already know what colors we need, say we have a preset swatch pot for certain characters. We could just use the bucket tool to straight up fill in those areas without even making selections. So let's say in this case, the creators of the graphic novel what whether it's you or someone else has a preset character set character color set. So in this case, we have girls skin and hair. Well, another time on my color layer will switch to my flat ing Phil tool and will say girls skin and just start refilling in these areas and I want to highlight this awesome feature bucket called follow adjacent pixel. And this is the same as photo shops. Contiguous option When turn on. This means that it will fill that area until it has a boundary, and then it will stop So you can see that when I click inside the arm. The blue was basically contained within this area, but as you can see, it doesn't hit the face in the arms, which clearly should be the same color. And we can go ahead and fill those uniquely no problem. But you can really see the beginning of an issue it, whereas if we have a lot of separate, disparate little pieces of that color all over the place, it could be a big hassle Teoh to hit all those or to even catch them. And that's where turning off follow Jason Pixel can really help us. This now looks for that color on the entire layer and fills it so I'll just click on the face. And now every instance of that color has been recovered. So never really seen the value of a clean, flat slayer. Let's do the same thing with the hair now, in this case, you see that my flats later used a color that was very similar to the hair color, even though technically, there were two separate colors. And that's because my color margin is ah is set at 18. And what this means is that clip studios bucket. It's gonna look for a color that's within this color error margin. I'm not sure what the 18 refers to, but 18 units of something of a percentage that's close enough for that green. So I want to make sure that my flat ing Phil and now has a color margin of zero. That way, even if there's even a slight difference in these two values, it will still behave that we want the flash player to behave as a clean mask where even the smallest variation in color is developed mask shape. So again we'll make sure we're on her color, and now we click it, and now we see that just that has been colored on the Sox have not been touched. Now, the other way to go ahead and adjust colors. If there are no preset colors, we can just use our magic wand to make a selection and make a change in the hue saturation , and the magic one behaves in very much the same way. Right now, the default state of the magic wand is to follow adjacent pixel, and I want to make sure that and a leasing is off just to make sure that we have a clean selection on everything. So let's take the skateboard, for example. Or better yet, let's take this sucks when follow adjacent pixel is on. It's only gonna grab that piece of the sucks. Go ahead and turn off my selection launcher just so we're not distracted by it. But when follow adjacent pixel is off. No matter where I click, it's gonna select every instance of that color. Well, now weaken. Just apply something like a hue, saturation, luminosity. And I have said this to command you to behave like photo shop. It's found right here in tunnel correction, hue saturation, you luminosity. And now we can go and just adjust that you to something that we like. So I'm able to do such a saturation a little bit. I want to make sure that my colors aren't overly saturated in our lighting stage. The lighting is definitely gonna increase situations for some of these are lighting and shadows. So we kind of want most of these colors to be in a mid value, somewhat mid saturation range. We're gonna always increase it later. I could do the same thing with shorts. In this case, I'm having a harder time finding the color I want. Of course, I could just pick a color. He's my bucket tool and Phil Great. Do the same thing with the skateboard. Be a little oversaturated there. Now The key here is to use the what we might call the actual color of things will be lighting and relighting in the next step, which means that if this scene takes place at night, we'll deal with that on the next stage. Here, skin color is skin color and hair colors, hair color throughout the whole book. This provides much more flexibility down the road. All right, color is done now on to the fun part lighting 5. Import actions: now. Clearly, the method I'm demonstrating uses a whole set of adjustment layers that divide up most basic lighting scenarios into their key components. While you might think this is overkill, I find it not only frees up my creative process to experimentation, but it also makes a lighting more manageable in less overwhelming. I don't have to worry about forgetting important light passes, and when I exclude them, it's intentional, not accidental. Also, using an adjustment layer instead of a multiply for a shadow or screened for highlight layer allows me to revisit light shapes without having to remember exactly what color it previously used. I'm only re addressing the mask and letting the curves apply the color and intensity. So to that end, I've included a set of actions for both Clips Studio and Photoshopped that automatically set up these light layers for you. Let's see how they work. Includes Studio will open the auto action panel and come up here to the menu for the palette and select import set. Then we'll just choose our dot L. A F file and there we have a whole set of actions that had light layers, effects layers and a few others that I'll be using during the demonstration. So let's see how that works will grab the existing light layers that I have here in the file will make sure we're on the layer under which we'd like to add all these light layers good and select the ad light layers, action and hit play, and it automatically sets everything up in a logical way for adding the different light passes. Now all of these curves are already preset to darken or lighten the image. And, of course, these air changeable later. So all you basically have to do is go into the mask, grab some kind of brush and start painting in where you want those light passes to show up . Now, an easier way of invoking these actions is to turn this into button mode. So let's select but mode, and now we don't have to hit play. We just again select our color layer and click add light layers and all of those air headed automatically. The same process is available in Photoshopped, so here we have our actions palette open, and I've already imported those. But let's just do that from scratch. Why do we or trash will go to load actions. Importante dot Haitien file And there is a graphic novel covering action set again. I've included the convert brightness to Transparency Action that we used earlier here as well. Photo Shop also has a button mode. It doesn't separate action, sets actions into sets like clips Studio does. But we can always just make this palette a little bit smaller and just show we want. We'll click the color layer and add light layers and all the same equivalent light passes show up there. All right, let's get to lighting these layers. 6. Adding shadows: all right. The first thing we want to do is determine what are lighting scenario is gonna be what direction are light is coming from, and that's gonna inform all of our decisions. From this point forward, let's go ahead and make a new layer and maybe just draw some arrows on our screen that help us understand what we want our light and shadows look like. So I'm thinking this is gonna be a nice sunset type piece Where the sun is is kind of coming down from this angle. I like to start with my ambient tone, shadows and deep shadows. I find that something that's easiest for my brain to calculate when I'm imagining light direction. But even before that, I like to see if there's an opportunity to set the color of the sky or the environment, and that's going to start informing what my figures and silhouettes look like on top of that overall lighting scheme. So I already separated my sky out from my original flats color. So that way none of these lighting adjustment layers affect this guy, and I can just kind of paint directly and have a little more control over that Let's go for a nice, creamy orange experiment a little bit here. Maybe we'll start off with something kind of like that, and very quickly I will grab my stuff, airbrush and maybe just kind of come in here and imply a little bit of maybe this kind of final lighting senator that I have in my mind be adding some deeper clouds later. But that's a little bit of a sunset feel, and now that kind of gets my brain in the right. The zone for adjusting Lotus ambient tone MBIA Color is the color of an object where it is in shadow, and it's this color is is what the object reflects when illuminated by ambient light rather than directly. And in this case, the direct light is gonna be our son or a sunset son. So overall, if this really was kind of in the evening hours, the colors that we see here need to be a lot warmer and likely a lot darker before we set our start, adding our shadows on our highlights. So let's go into this ambient tone curve and just start bringing this down Now. If you're not family with curves It might be a little overwhelming at the beginning, but they're not too difficult to figure out. You're gonna add as many points in here as you like and get some really crazy contrast in saturation effects. But I try to keep my curves to its few points as possible. If you accidentally at an extra point, all you need to do is drag it out of the box and it will disappear. And the same thing happens in Photoshopped as well. Now, typically, when you if you're an RGB at least, and you drag a curved downward, it's gonna darken. And if you drag it upward, it's gonna lighten all the colors that that curve is affecting. It tends to saturate a little bit when you have this point in the middle of this curve. If you'd like an unsaturated darkness, then grabbing this right most point and dragging it down will start creating a darkness that's more black based and a little bit less saturated on. Conversely, dragging this corner upward is not only gonna lighten, but it's also gonna de saturated colors but usually result in colors a little more pasty. But that's useful sometimes. So again the point in the middle brightens and darkens and tends toward more saturated colors, whereas the points on the end tend toward more de saturated lightening and darkening. I was gonna go ahead and drag this down a little bit. I do like to experiment every once in a while with a little bit of that greater value. And we're imagining what this tone would look like if there was no direct sunlight on her at all. That's kind of like the way of thinking about it. This is minus the key light. What is this? This ambient color that is Onley, um, reflecting, so to speak, the colors of the environment. Let's go down to our ambient tone of our background of our background objects as well, just to kind of get us in that that right zone and indicate this case. I might go ahead to the Red Channel. And the nice thing about the red, green and blue channels is you can uniquely increase or decrease in that color value. So in addition to just, darkening and lightening were also toning. So in case we wanted to just add a little bit more that red issue, we can do that here and by the same token, weaken, decrease things like the blue in greens. In this case, it's making a little bit more little yellow. Er. I think that's pretty good in this Ambien tone. Let's go ahead and bump up the Reds just a little bit, just so we can kinda heightened that feel. And Miguel pull up that black, so it's a little bit less gray. Keep it Nice saturation. Gonna go one more time to my ambient tone, and they think I want a little bit more of a silhouette. Feel yer just We kind of get that. Skied a pot behind it a little bit more. All right, let's go ahead and start adding some shadows in. Now you can use any of the tools you're comfortable with to start blocking in these different light passes. I could just grab a normal brush and start blocking this in. In this case, I'm just going to use the last So Phil to get my overall shapes. I just like to give it a real broad, um, lay in black in, and maybe after the fact, adjust the edges to disrupt him a little bit according to my style. Now one more note on clip studios masks. If you're used to Photoshopped, you'll quickly want to add values of gray in the masks to either reveal or hide the shot of any of these mass. For the adjustment layers, the clips to do works a little bit differently. Instead of using values of gray to determine opacity, it actually uses opacity or transparency. That means that I could actually paint with black inside one of these masks and still get the result of that adjustment layer. And that's because I'm painting with a color that is at full opacity now. If I had switched to transparency, it's like painting with black in Photoshop, where it's actually removing that effect. So again, it doesn't matter what color I'm on. It's always going to a play, uh, the same transparency as the tool that I'm currently using. That means that if I'm using a soft airbrush and I start painting in, get a little smaller at full strength, then it will be applied at full strength. If I drop this down to 30% in hitting three on my keyboard, because I've said those shortcuts that only 30% will show up the same with my lasso, Phil. If I'm about 30% of that, only 30% will show if there. Conversely, if I hit the letter C to start paying with transparency, I can start eating out of this whether it's using my last fulfill or my soft airbrush erasing hitting zero to go back 200% in erasing out. So again, the mask application relies on the transparency of the paint and not on the grayscale value . That's an important difference between clips studio and Photoshopped. Okay, so I've reset that. I feel that have basically, by deleting this, I've made it transparent. I'm gonna grab my last. So, Phil again, it doesn't matter what color online. I'm 100% hear things here on my keyboard, and I'm just going to start blocking in some of these shadows. There's a couple ways to do it. I can kind of directly go and start playing shadows, or I can fill the mask completely. I just hit option to lead to fill it and start removing areas that are not in shadow. So I think different scenes, um, have different logic in this case, I think I'm gonna start removing shadow areas because I kind of like to think about how the light is is is coming in into the scene here. So it's kind of like a lighting in a certain way as well, adding, like to that scene, get him on transparency. So I'm kind of eating away. I really love this lasso fell to its such a big time saver. Can I want to get this idea that maybe, uh, this board is tilted a little bit, So maybe this section of the board is has light in it, committing a letter c to go back to pain with, uh, capacity with transparency. Bring this side of the wheels and again. And maybe we get this little sense of something like that, right? Can I imagine what the cast shadows of those wheels look like? And let's open up a little bit of these shoe highlights. It's another thing I love about this method of adjustment layers. I don't have to be color picking those colors just to get a letter color. The the same curves layer has that has an effect across the whole spectrum of colors that's underneath it okay. And let's put out a little bit more here, something like that. Okay, that looks pretty good. And I'm gonna go here a double click on the shadows layer, and maybe just cool this up a little bit. So let's go to the blue and kick that blew up. We'll start getting a little bit more that purple feel and even come to the red and reduce some of that read a little bit. And if we wanted to, we could go to this main curve and just kind of kill that darkness just a little bit as well. Just get a little bit of that. That coolness in there. Yeah, that's looking pretty good. And like I mentioned, I can now go. I can leave it like this if I wanted to, or I can grab a brush and start kind of affecting some of these edges a little bit. If that was my style, it's going and do. That will make this a little bit more brushy. So I'm just doing the same exact thing. Except now the brush just kind of killing these edges a little bit. All right. All right. Looks good to me. And again. We don't have to use all of these light passes, and you make be completely fine with you know this level right now. Let's go ahead and see what each one of these does. Deep shadows is just an additional shadow pass, and I like to use this where there's opportunities for a little more clarity. So, for example, I might come in here and at a little bit of this under the hair, maybe under the brim, a little bit, some additional darkness. They're not quite cast shadows, but what's called ambient occlusion. It's where even less of that ambient light is reaching. And so, just by nature, it's it's gonna appear a little bit darker. Do something like that. Overdo it here. But it's in the little nooks and crannies just adds a little bit of separation, a little bit of depth. Sometimes these little subtle things go a long way toward just clarifying what's happening . Okay, let's leave it like that for now. Let's do the same thing with the background coming into the shadows now, Not quite sure I wanna handle this. Maybe, is this a big shadow off of a building? Maybe that we don't see off in the distance. And, uh, maybe we just get a little sense of of what's happening there. Yeah, I kind of like that. It's a nice little dynamic twist to it. I think it is a nice balance to the silhouette against the sky. OK, so that's our ambient own shadows and deep shadows. Next bounce, light, key light and key light balloon. 7. Adding lights: Okay. Now on to bounce light T light and key Late bloom. Now bounce light is exactly what it sounds like. It's light that bounces off the environment back onto our main subjects, and it can also inherit some of the color of the environment if it's close enough. So if we had a big, giant red ball in front of her face than the bounce late, directly over in front of her face would be redder than elsewhere on her body. I have this set as a curves layer. Eso that the balance, like for the whole character, is gonna inherit the color of this curves. And that works for most situations. So, for example, will just come here into this mask, and I'll use myself, er, bush, for this typically bounce light is very soft and subtle, and you can see how. Now we have a little bit of a lightening effect from the shadow on her legs, presumably off of you know, this is ramp, and ultimately it just adds a little bit of color variation and a little bit of interest in our scene. And, of course, you can just keep playing around it and playing fast and loose is not an exact science here , but whatever looks good to you maybe added a little bit too much there on her face so I could see and just pull that out just a little bit and likes experiment with the color of that bounce light. I have it set to kind of, ah, a cool blue. But maybe if we reduce that blew just a little bit and we'll just go ahead. Enlightened. That just gives it a little bit of that purple color variation just gives us the impression that there's a little bit of that environment bouncing back at her. If you wanted to add additional light bounces again, imagining that was a big red balloon here, for example, we might just add a new color layer and set it to something like Screen and you choose camera Red Bounce, and we can start heading that over her face as well, logistically that for now, now on to the key light, that's pretty self explanatory. And we're gonna do the same thing that we did with the Shadows is just start blocking it in . In this case, I'll just go straight with my DOB Inc tapered Rob Rush and to start painting in what I imagine this sunlight Teoh be. That's a little bit light right now, a little bit dark right now when I'm definitely gonna get kind of bump it up a little bit. But let me just blocked this and quickly keep adjusting. It can't. That looks pretty good. Let's go ahead. And in breaking this up, just get a nice, snappy sunlight here. Nice bright sun OK and are key. Light bloom is simply a hue saturation layer that over saturates the color underneath it. In fact, I might just kind of dropped this Brighton. It's just a little bit. But what this adds is just a little bit of heat between the key light and are kind of mid tone, diffuse color. And it just adds a little bit that saturation in that transition area, and it's something that can it does naturally occur. Sometimes it's a little more visible in photographs, even but just gives a nice, saturated turn to the chief light area. It's subtle, but, uh, I would like to use it when I can Nice And lastly, let's discuss our speculators So speculator ity is the light that ends up describing the roughness or smoothness of the material. If we have over to a browser here, have pulled up a couple of charts. I just typed in speculator light chart for artists, and there's tons of these other. But this just gives you a quick idea of what happens to speculate. Highlights as a surface gets smoother and smoother. So at its roughest state, a material like something like a rubber, for example, or cloth has little to no speculator ITI. And in fact, there is speculator ity. But the materialist so rough that it has bounced that light in so many different places that it actually diffuses all of that light. And so we get the impression that there are no speculate highlights, and as a material is become smoother and smoother. Those speculate highlights start to resolve more and more and sharpened more and more, but they also get smaller and smaller, so the larger they are, the more rough material appears, and the sharper and smaller they are. The shiner, a shiner material material appears and, of course, that there was a giant light source in front of this. Then the speculum highlights would be a little bit larger, but this gives you a good sense of how toe gauge or interpret materials in your scene. And the more you pay attention and look at things in your everyday life, pay attention. The speculator ity. You can start to get a sense of how much speculated E would has, you know, vs metal overseas plastic, and you can start incorporating that into your into your drawings. Now a lot of the superhero drawings have a lot of speculator ity on their skin. Tight spandex suits, and you'll start to notice over and over where those speculate highlights fall. Aziz, the forms and shapes turn. In this case. Let's just add a few speculate highlights to your skin. Definitely this could be overdone, and so you don't want to go overboard here. But instead of a curves adjustment, I've created a new layer on screen, and this is because I like to grab the local color of the color that I'm adding speculator 82 on. So we'll have speculators of varying tones throughout. So I'm just gonna grab this, uh, is a local kind of brownish color and what I want to do with these speculative highlights is it's kind of start saturated and and broad, an end up whiter and de saturated. So start with a saturated orange and get a little bit darker here. So the darker color is on a layer that said to screen, the less it will show up. What kind of do something like that? Grab this tone. Let's go ahead and dark in it and let's just add a little bit of speculated. He can't like his bounce bounce light area. Um, we'll do this tone here, Stark, and that's it's not super bright, perfected my dark in that a little bit more. You can get pretty close to black, and it will still show up. I will start lightning these a little bit at a time too much, adding, these little speculators. We start to get this sense that the skin, you know, maybe is a little bit shiny. I typically don't like to leave him just like that, so I'm gonna grab my open at my tools palette here and grab soothing water taller color and put that into may quick access to a swell. It's a nice little blender that ships with clips studio, and we just kind of pull These highlights are just a little bit kind of integrate that a little bit more, all right? And I think these air little over much. So I'm gonna grab my airbrush payment, transparency, and just kill that this above it just to get to get the idea that there's some some form changes in there. Good. Let's re address some of these shadow cosas. Well, I'm gonna come back into my shadows layer. And I think that I want to just brighten this up just a little bit and maybe saturate this just a little bit more so you can see I'm just experimenting a little bit with these curves eso that I do get some darkness but that it's a little bit more saturated in that in that shadow color. So by giving it a little bit, this s curve re saturating those colors up a little bit. Yeah, it seems a little bit nicer to me. All right, We're just about there. I just need to add some shadows in the bushes, and then we're gonna move on to our FX layers. So let me do that real quick. - All right. Onto the effects pass 8. Light effects: all right, the effects passes one of my favorite passes because it's so much fun. But it can also be overused as well. Just like the speculation, let's see what that looks like. Have a folder here with two layers that are set to glow. Now Glow is a blending mode that is labelled add. Photoshopped also has a linear dodge add. Well, I just find that Club Studios addict glow is just a little more special because of the way it treats the colors underneath. And let's see what that looks like. I've also provided an action to set up this base effects layer, so I just deleted here also, like to put it over the Leinart so that all the glow effects actually retained and re color the liner. And that just has a little bit more atmosphere to the whole scene, in my opinion. So if we click, add effects, layers it automatically as a folder with two layers that are labelled below. Both of these layers are identical. I just tend Teoh like having the 2nd 1 available to me as I'm lighting. All right, The first level of glows that I like to do are just to add a little bit of bloom to our tea lights. So if I grab this local color here, which is gonna tend to be the color of the light, and I use my big soft airbrush and I just start brushing in here, you see that there's a glow just provides a really nice spill for not only the key light, but also all the colors around it again can definitely be overdone. And so you have to use it judiciously. In this case, there is no sun behind her. So I'm not trying to create a giant light spill from a backlit light source. Also, the color I'm using is pretty saturated. We reduce the saturation a bit and you'll see that it will start to get whiter and whiter as they move toward toward the white. Obviously, in this case, I just want to indicate that there's, you know, this big light source of down here. We're off to left and just look at these beautiful little color shifts that start happening . I find that I would really intentionally put these put the kind of color shifts in that glowed does for me, and that's why I just have such a fun, fun time using it to make this a little bit smaller. And let's make this glow a little bit darker and just can subtly add a little bit of these thes blooms right in here again. It's giving us a little of that heat that we were talking about before with that key light blue. Surely, like maybe just something like that. Now we can also use the go layer for any additional light sources we might have in our scene. So, for example, let me create a new layer here in our effects pass. And let's just say that we had lights on this wall. So it's put a couple of lights here and maybe even one on our on our skateboard with our glow layer. All we need to do is come in and maybe choose the color of that of what those lights are and just really suddenly start Kinda, you know, inferring that nice little leg low. It's a lot of fun that's trying a nice a yellow color. Maybe that's a little bit less, um, you some kind of I don't know what that is, their lights and you can really just start getting hotter and hotter, you know, brighter and brighter toward the center of this. Until you can I have that nice Braithwaite spot. So that's Ah, that's the effect of glow. Give her a little e t finger. You know, - my sculpt brush here can see it response all the same. Same tools that you're used to painting with. Okay, I'm seriously off topic now, but glow layer is super fun to be and we'll delete these lights as well. 9. Color shifts: The other thing I'd like to experiment with in the FX folder are color ships. Now I have, ah, a few more actions that we didn't really use too much in our in our demo. But the shadow curve is exactly what that is. It just adds an additional shadow curve that we can use for vignette ing purposes. Whether it's within, you know, our character is set up or even outside of it. So let's say we really just wanted at a nice vignette all the way around. So at a shadow curve and I'll just do a nice soft, you know, been yet around this way you can readdress, but it looks like there same thing with a light curve. This is just a normal curve with no lightness or darkness, hue, saturation addition and a color balance edition. Of course, we can do all of that from here as well. I just feel like rummaging through these adjustment layers is is kind of disrupts my flow when I'm just meeting an extra adjustment layer. In this case, I'm gonna add a color balance, and I always like to do a neck sperry mint with just large Grady in color shifts from top to bottom, and I just find it as just one more layer of interest in each of our scenes. Eso I'll go ahead and just use a big soft airbrush here. And is this such anything? No, it's not said anything and it's actually showing everything right now. So let's just go ahead and shift this blue and I'm gonna delete that home ask and maybe just kind of color shift right in here. That's a nice coolness in there that changed a lot about the way our service is reading. But I think it's worth exploring and so just kind of come into this color balance panel and just play around with, um, you know what hues and tones we can experiment with that will just add a little more interest in here, kind of like that purple. So here we have this beautiful shift from yellows into purples in the corner. Maybe I don't really want that much of been yet, just for the sake of explaining that, look how much are affects, Folder added not only in terms of the color ships, but those nice little blooms from the light. Give us a little more focus and a little more color harmony, since it affects all the colors underneath. The last two things we can do is address the color of the line art and then address some base color detailing as well. Let's look at this line are now weaken. Definitely leave it just as, uh, black as it is right now. But one of the reasons why we converted it to transparency at the beginning of this whole process is so that we could have the choice of recovering this if needed. For example, these black lines are really needed down here on this wall area. They're a little bit distracting for me, and I don't need to be so prominent. So we'll make sure that we turn on our preserved transparency so that we can repaint right in these areas and still retain the lines where we want them to grab my soft airbrush. And let's just start experimenting with a lighter color with these lines. Maybe it's somewhere around here again. You can always go darker just by painting black again, but it just kind of kills the the presence that some of these dark lines you know, having maybe distracting from the scene a little bit. And of course, we can come in here too, our girl, and even just de emphasize some of these lines as well. And we don't have to go overboard, but have even in some of these light areas, no need for it to be so strong. And you'll see this recovering of line work work happened often when there's special effects and light beams and energy effects that land work is gonna get re colored. So it really is helpful. Toe have it a transparency as well as what we did at the beginning of this process. All right, But just as a little bit more subtlety to the drawing and the language doesn't have to be so crass. All right, we're just about there. 10. Additional base color details: the last thing we might want to do is now address some base color details. And what that means is, now that all our lighting is set, we can still go back to our base covered layer and and make adjustments without compromising all of this great lighting work that we did. So, for example, maybe we want to come here back into our color layer and, uh, at some readiness to the nose. For example, I'm gonna hit I to give my eyedropper tool and show my options here and to make sure I'm on pickup color from layer and that obtain display feller. If I click, obtain, display color, then it's obviously gonna pick up the aggregate color of my base color, plus all my adjustment layers. But if I just pick up color from layer, then that's my flats color. That's underneath. And these were just the strait of colors that I chose, uh, earlier, and that's what I want to do. I just want to take this color and maybe make it redder or darker or lighter. So, for example, I will grab my ink tapered raw, select that color, and let's just get a little bit redder, a little bit darker, just kind of hit these little, you know, the nickels and elbows. And the nice thing about what's happening now is we're still retaining all the value of our lighting effects because they're all being applied on top, right? And then we can come in here at some freckles. When does that a little bit. What did you get the idea? And lastly, but I want to do is add some more detail to that sky. So I'll do that right now. All right. And there we go, were able to add a bunch of details underneath on the color layer and keep all the value of the lighting work that we've done. 11. Conclusion: all right, well, that wraps up our interested graphic novel coloring. I hope that was helpful in breaking down this method for colorizing Leinart. Just a couple of notes on what we've talked about today. First, you don't have to use each one of these lighting passes in every single piece of art. Pay attention to some of your favorite graphic novels and appreciate how simple some of these lighting setups really are. In fact, if we look at look at the file that we created today, we can still create compelling art and lighting setups with just a couple of these passes, like the ambient tone in the shadows or even just the ambient tone and the key light. And if you find you're only using a couple of these passes regularly in your particular story in style, then feel free to adjust the action set that I created that for you to download. If you come up here to a window and come over here to our auto action pallet, all you need to do is get out of but Mode and, for example, will select add light layers and just duplicate this action and what you can do is open this up and just start experimenting with removing the light past actions that you're not using. Once you get it to work just how you want. You can select those and delete them, and that can turn into something like head light layers basic, for example, and then just switch this back to but mode and then you're off on running with your with your customized action set. Secondly, you can apply this method to a whole page Ortho panels. In fact, I'll be showing how to organize a full page of panels with this exact method in the next lesson. You know, even if your main illustration style isn't graphic novels, learning to break down a complex lighting scenario into its discreet elements is an incredibly important exercise and learning how to observe more accurately. And if these concepts are new to you, we'll make it a habit to start looking at things in your everyday routine a little bit differently and a little more closely. Why do you some things look shiny? Why do some things look flat reflective? What effect does afternoon sunlight versus fluorescent office lights have on light color on shadow shapes on shadow color. The more you practice, the better you'll get. What excellent exercise is to do exactly what we did today. Take the same line art and recover it in various lighting setups. I'd love to see your projects posted down below to see your progress. And don't forget what we've created here is high resolution artwork that's good enough to print. Have a high quality, easy clay print made at your local print shop Or, you know, even hop on to any number of online photo printing services. It seems like you can get just about anything printed these days, I thought, when fun example it might be some photo playing cards would make a good gift for somebody above all else. Have fun, enjoy sharing your heart with others and hope to see you in the next lesson.