Japanese Cell Shading (part 3 of 3): Advanced Techniques | Yazuki Wolf | Skillshare

Japanese Cell Shading (part 3 of 3): Advanced Techniques

Yazuki Wolf

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7 Lessons (30m)
    • 1. Intro

      1:10
    • 2. Softening Your Linework 1

      3:54
    • 3. Softening Your Linework 2

      2:23
    • 4. Adding Atmosphere

      3:09
    • 5. Hiding Your Linework 1

      8:33
    • 6. Hiding Your Linework 2

      9:36
    • 7. Final Comments

      1:21

About This Class

This is the third and final class in a series of classes covering Japanese Cell Shading. 
I'm an artist living and working in Japan, and in these videos I aim to share the knowledge I've gained doing art in various Japanese gaming studios.


Although I stress professional standards in this lesson, it is open for all skill levels. 

Transcripts

1. Intro: hey is as you wolf. And today we're gonna be continuing with our Japanese cell shading. This may be the last video in this series. I'm not sure, but we'll see how this goes. At any rate, we have our illustration here with shadows highlights the base colors and radiations Pretty much everything you would need in a general illustrations. So associated illustrations. So most projects You could probably say this is gonna be finished. And there are a lot of products that, for stylistic reasons, actually may wants you to keep these very, very dark black line work here and see if I could zoom a little bit. So you see how that we have these very dark black lines for a lot of products that's gonna be okay, and that might be something they want you to have. But if you can get away with it and you think that it might add Teoh the kind of general feel of illustration, you might want to soften up those lines and not have them be so just blandly dark like this . So there's a couple other, like just a file last steps that you might want to take Teoh clean this up a bit 2. Softening Your Linework 1: so there's a couple ways we can do that. First off I go to our line layer and keeping my I have my lines in separated into parts. So in my case, I might just stick to the I may just into the lighter line. But I know and you're I'm assuming that you probably have 11 layer for your line. So just consider this all to be one layer for line workout make make it blue to make it more distinguishable So above the line work I'm gonna make another layer and I'm gonna make this mask to the, uh, to the line work. And then let's just take more the darker colors in our illustration like maybe maybe this dark blue here and, uh, fill in that hole there with that dark blue, which then in turn fills in all your lines, and you can then take this layer and lower the capacity a bit so that it's still pretty dark blackish, but not quite as doctors before. So you see, right now that's already softened up the illustration quite a bit. So earlier we had this straight up black these trade of black line work here and now we just kind of softened that a little bit. Use the difference. So this is Ah before and this is after and this before and after, but it's not quite enough yet, so let's do one more thing. We're gonna take another layer on top of that, and I'm just going to select with lighter colors here. And I'm going to kind of fill in where I think a light might be coming in to the illustration like so might be hitting the character Rather. So So there's some some light hitting above her hair here by these highlights. And there's lights coming in over her shoulder, probably maybe underneath her arm around here around here, and I'm you. Once again, I'm using the the watercolor brush in clip studio paint because that's very easy to kind of blend with and get this nice, smooth radiation. Otherwise, beauty photo shop. You can probably use a creation tool or some other means to get this a similar effect. Let's see. There we go, and now I'm gonna change this layer into a screen there so that it mixes with the car's underneath it and looks fairly okay. I might spend more time this in general terms. But today I think that be enough. So now, to get rid of the excess area, we just got hold control and click on the, um, the base color there and that will in at least six dio script Studio Pro. I believe it also works a photo shop that should give you a selection of just that of everything that's in that layer. So now we can delete everything outside of that there is Ah, there's a button down here for clip studio pro for deleting everything outside of your selection full shop. You could do the long rounds to control shift. I you could help control shift I to select the opposite side the outside layer, and then could control X to delete everything outside of that control. D will de select that. Um, Anyways, there we go. That's a little too much overlap here chest, So it's kind of delete some of that, and this might be a little too opaque, so I'm gonna dropped on the past. You have a little bit. There you go. Right. So now that's, um before and then after. So you see, I just gives it a little bit of, ah, smooth of, ah, softer touch, especially I've found in Japan. They kind of seemed to like softer feel two things I mean has changed a little bit with, like, Graham do fantasy and how the art that you see with that game where you have a little bit more stronger contrasts. But in jail, they don't want, like, sharp, too many sharp edges or sharp sharp colors as much. So having kind of more of a softness to it can can help your illustration, depending on the subject matter and other things, of course. 3. Softening Your Linework 2: Another thing that you might want to do is maybe take the year, uh, take your actual, um, your actual line layer. I'm I actually have to rast arise mine. So I had mine as a as a victor in Let's do you paint something have to rest Arise that. So if you use to clip to your paints you could click on it and then click Rast arise and that makes it into regular there. So now I'm gonna duplicate this and I'm gonna take the under on top of it And use the filter. God's Blur. Three. I think of probably about rate. Yes, I'm like that. All right, so that's just kind of soften things up a little bit. I couldn't take my bottom layer and maybe lower the capacity of that a little bit. Um, I don't even need the bottom there. Yeah, I think what I'm gonna do. I think it would be good. I'm gonna make a a mask masking their for the bottom layer and actually could hold control , I believe. I don't know, control result. If you hold all tamala creating ah, masking their it will make it our affiliate in black so everything's masked. And so now basically my bottom unb Leard layer is completely gone right now, but I'm going to then paint on them, asking their to reveal it. So I'm gonna reveal it around the eyes. So basically what this is gonna do, I use the word basically a little too much. Okay, Anyways, this is what is going to do is this is going to make the area around her eyes much crisper because I'm if you know his earlier. But when it was all blurred, it made your eyes kind of struggle to figure out where you wanted to actually focus on, see if I could Ah, here, you. Right now you see if it's if it's all blurred, your eyes might kind of struggle a little bit to try to figure out where you want to focus on. But if I can bring back the strong, the strong contrast in her eyes, then that kind of that's your eyes. Your eyes focus on her eyes and it gives you a kind of resting place in the illustration and, you know, maybe other parts besides her eyes that you might want to bring up that contract as well, but at any rate, that's pretty much it for just kind of like softening up your line work. 4. Adding Atmosphere: Now, I don't know if this is really be, um, proper for this particular illustration, but just to show you one other thing that might come up in your, uh, she oggi phase, what would you call that? An English, Uh, like your post processing I'm not. That's quite right. But your final like brush up. I guess it be a good way to say it's their kind of brushing up phase is you might want make kind of to color layers. We have one that's going to be Ah ah was the word. Ah, cool color. Like blue, maybe. And I'm going to ask a little too, too dark. All right, So dark while I was there. So you have kind of blue coming in from the bottom, and then we're gonna have, uh, warmer color, like, say, orange coming from the top and go back to the blue crab. Um, lend that out if you have a great until you might want you is a great tool. Instead, I once again when I use, um clips to your pro, I just like using the watercolor brush, But yes, something like that. Right. And we're going to turn that into something like a soft light layer. Maybe overlay looks like, huh? Do anything. Okay. So, um, and clips to your pro, Apparently the, uh even if you change the layer doesn't affect anything if it's inside a folder. So we just took take a look outside of the folder and delete the folder. All right, so now it's outside of the folder. Um, and we went from normal air to screen. Look like E. I think soft lights. Probably good overlay. Yeah. Yeah, the soft light. So I got I turned that to a soft light there. So that's my blue at a soft light layer. And I was take our, uh, orange next. Okay, Maybe turned that into a soft light there. There we go. And once again, we could take both of these and just hold control while crossing the base color to select the base color layer rather to select the area of your actual character and then delete to the area outside of that and see that we go. We have just in different colorations going on here. I think I almost like without the blue is Yeah, The character herself is already pretty blue. so I'm gonna take the blue away. Otherwise, it's a little too soft for my taste. So there you go. That's kind of gives a little bit more of like, atmospheric feel to it, and once again depends on your illustration and send some cases. The original may be better just to have that, like the kind of darker tone there. But having if you want a more softer atmospheric touch than something like this, may work better, um, they're just little things you can do to kind of dab at it to make it a little softer in tone. 5. Hiding Your Linework 1: and we're going to be continuing today with our Japanese cell shading Siri's. And this is kind of parting a little bit from the cell shading area. I mean, we're starting with the general cell shaded illustration, but I just want to try one last thing that we could do with this, and we're gonna kind of push it toward the opportunity side. For those who don't wash my original video out. Sanity is the Mawr nonlinear type of illustration that XYZ fully like a fully rendered. And we're not gonna go completely fully rendered because we still have actual cell shaded areas in this. But, um, yeah, actually, if you have time, maybe I'll try converting those as well. So first off, what we're gonna do is we're gonna try to get rid of these lines. Now, if we just take the line lair and turn the eye on the eyeball off, it doesn't quite do what we wanted. That's not quite what we want. We don't want to have to work with something like this. Depending on your in your illustration, you may have very defined, like edges that that work well, and you could just turn your lines off. But with this particular illustration, it didn't go that way. So let's figure out how we can clean this up. So this is a little messy. And if you can think of a better way and do this, please let me know, because I'm still kind of like during this myself in experimenting that isn't something actually learned in school. Here is just something that I found myself do from time to time, when I want to convert a line drawing into Ah, a more complete what would you call it? Rendered rendered illustration And what That is What that is is that I take my my line were here and I have my lines in one folder. You may just have it in 11 and one layer. Either way's fine. Marking that with a blue color for my layer here. So you can see in the video and I'm going to make another layer on top. You actually know. Okay, this is a little Trixie way to do this. So in order to keep some consistency with my colors, I'm going to first turn off all my what you call it all the layers. Except for my base colors. So any of the, uh, shadows highlights any of those I'm just gonna turn those off for right now and for a better workflow. Maybe it would work better if if we did this ahead of time. But we're backtracking a little bit to go back to our original state of just the base colors. There we go. And now I'm going to actually copy holding control. Each time I select a new layer, I'm going to select each each of those based colors. Okay. Got all of them. Uh, probably. And so copy those and put them paste them on top of my of my leimert. And we're not quite done yet, though, So I'm going to put make. I'm not sure this works for a shop. Uh, give it try, let me know. But I'm gonna make a folder and place the folder on top of my line work, and I'm actually going to turn that folder into, uh um masking masking their That the right word. It was It's called. I'm asking. There's a clipping layer. Yes. Oh, this is so it's gonna clip into the light work and I got Take all those those layers that I just pasted gonna put that inside the folder. So now all of me, all of the it's hard it's got it's hard for you just to see exactly what's happening here because it just looks like I just have all the colors on top. But if I turned the shading backed down on here, you can see that the shading still comes up with. Lines are completely covered up, so the lines are completely covered up with the base colors. So all my lines should be my base colors. And, uh, in some cases, this may be completely finished for you. But in my case, you could see that there are areas that were not included in there. So I'm just going to go through here layer by there and clean that up. So we're starting off with our with our our skin tone. I'm gonna hold all to select its skin tone and draw over that You go. And this is pretty, um should be consistent, but I'm expecting the base color and drawing with the base color, so that should give me a nice basic palette toe start with made and moving up to I think my next layer was her clothes, her hand, purple clothing. You have fill in the edges of that. So being careful here, but I know that I have the skin color underneath. I don't want I don't want to go over the skin tone here. So I'm gonna keep this skin tone where it is. Just have the clothing area. Only some weird stuff going on here that I may have to clean up later. Not sure exactly what that is, but we'll figure that out. Probably on a later phase. Yes, but she around the hands here. It's gonna kind of detailed, but something like that probably work the kind. Nice thing about having these in layers as opposed doing in one there. I mean, you could do it all in one there, I think as well. But since I have in layers, I know that, for example, I'm gonna do blue later so I could don't have to worry too much about painting outside of the line. If I'm going over blue, you have to be careful about painting over the skin tones in her skin tone during the bottom layer, anyways and looks like something going on here? We have two Can't fix. Don't know if I want. Um I don't think I want that bleeding in there, so I want this to be a pretty consistent circle. You can't delete some of that. There you go. Okay. White. I also feel like you're losing track of, um where you want to fill in with the colors. You can create a guide to your line for yourself by taking this Ah, um clipped layer folder and dropping the opacity just a little bit so that you can see what's underneath that should work. Come back to this there. Trade off with, as it might be a little tougher to see what your where you're filling. But I mean, if you look close that you should go to tell it just gives you a little bit of a guide at where the original line work was. So you could follow that if you need to. I have mine down to 90%. So you don't drop the past eve that much? Just enough so that you could see the line start to come through. That should be enough. And once again, I might spend more time on this if this was a professional project, but I'm a speed it up a little bit so that I can get this video out for you a little bit faster, Que moving on to the to the red. And now, since I'm pretty close to the top of my layers, I have to be a little bit more careful about overlapping colors because I don't want overlap colors that I'm not going there, not that are underneath this layer, because that's not gonna be fixed in the future. And another thing, I think since ah, because I have ready here already, I might use the red to fill in the lines around her her lips because otherwise they're gonna be those. Those lines are gone. Completely disappear. Yeah, I don't know if the nose should be read. That might just promise me that we'll keep it ready for right now. And I think her the color around your home, her eyes. I'm going to put that in the blue layer with her hair as well I want I wouldn't feel in this year 6. Hiding Your Linework 2: So it looks like we got all those filled in pretty well. So obviously that's not going to be the end of it, though, because now we're gonna go back and fill, bring up all those which whatchamacallit shadows and highlights that we had earlier. All right, cool And other. Some places where it's the colors as they are with the base color. Gonna work especially like reflected light. So, like, say, with the with this arm here, you know, we have the light kind, reflecting from the bottom that makes sense that they would be your base color there, some of the hair as well. But there are parts where it's not gonna quite fit. So I'm gonna do now. We're gonna go through each layer and I'm gonna create another layer on top of that and make that clipping their of the layer in the clipping folder. Does that make sense? I hope it does. But anyway, somewhere we have each layer that we just completed that on top of another clipping layer on top of that, with the shading that I want to and there's no real exact science to this. I'm just kind of got a look through and see what I think works like us over on her skin tone now. And I'm going to do the shading for skin tone, which is another layer on top of that. Uh, I see you, e think how this actually works pretty well. Like right here, Right here. Say we have We have this highlight color here, so it makes sense to kind of highlight that as well. Bring that highlight color into the actual line. And if you don't mind, having a little bit of a like a linear aspect to it may be something that would be fine. But if you want completely get rid of your line work, then. Oh, that's right. This is Ah, because it's There you go. Yeah. So I forgot that I had a transparency. So now, now it I took away the transparency. So now you see, the light work is completely gone. Um, So maybe down here, too, means the, uh, watercolor a little bit to give it politic. Radiations was not too stark of a chain difference. There you go. Um, is that it Looks like probably would probably want her her clothing to fill that instance go ahead. Vector clothing there. I want this to be the clothing color, and you probably find a lot of things like that while you're going that like, Oh, this This should have been that color that should have in that color or something like that . And then you just can't correct it as you go. So for clothing, layer that with darker there may be shading on the bottom there, Very like detailed stuff here. And it may take you a while to go through. So gonna speed up a little bit and then talk about what I how I progressed. So I'm using the dark shadows here to kind of fill in some of the line work around her years. Sometimes you might actually want to make a darker color than what you already had their and was again using some blending tools as well to make it a little bit more of a radiation at points. Sure to fill in these shadow areas to coming up from the hand down here is probably not gonna be that bright. You have a little bit, but rim light, though, but I don't want to be completely like let there Yes, I like that. How It kind of makes the shadow coming off of the hand there, the finger Rather, Then you actually don't even need tohave all these layers here, like see how I have Ah, I have the, uh the shadow, the shadow there, and the and the base layer here separate. You could do this. Probably in one in one there each. If you wanted to as well. Um, the reason why I have so many layers separated it is because when you were working on your own, you complain much, look and see if you like it or not, and then move on. But when you're working in a team, a lot of times you might think that Oh, I like this. I like how these colors are working. But then maybe you had it in. They say I want this time Check that green part, make it blue or something, or, like, um, make the highlights less less intense or make the shadows look darker. And having separate layers kind allows you to kind of go back and and make those very fine tune adjustments that may that may be asked of you. Um, but Yeah, if you're just drawing for yourself, you may not need need all that. But when you're in a team, it's always good to have a way toe quickly make, uh, adjustments and not have to mean once if you're gonna full of shop. A lot of times you can figure out how to make big changes even win. Um, even when you're talking about, like changing a color completely or like changing like some kind of aspect of of illustration and if you don't have it separated separate layers. You may be able to do that with some Photoshopped trips, tricks and whatnot. But, uh, in general, it's going to save your time if you have it separated into layers I've actually had sometimes birds, that they actually come to my to my desk and it's a high. Do you think what I think it would look better if, uh, if the the shadows there were less intense and having it in separate layers. I could be like Oh like So the shot or too intense. Okay, I clicked there. I just lower the apparently like How about that? Look OK, and it's like they were able to decide right then and there, and it lets you move on and get your work done. But, uh, yeah, that's just a part of that thing. It's so that's coming along fairly. Okay, Um, obviously, you want the area around her eyes to probably the darkest. And I think I actually probably go over this with a little bit of black just to kind of approach that original. The original had darkness of the actual Leinart. Um, and I don't like how the it looks like my green layers on top of the they took the green there, put it below my There we go. That's that's probably better. There we go. OK, so I put the viruses underneath the the blue so I could feel that in, like so. And it's a little too pronounced. Got shaded a little bit with some radiation that should work. All right. And no, actually, no. Look at it. Made the green. Should be on top. Yeah, I think the green should be on top because I want to make the area around her eyes green. So this just erase this here, that's can get in the way, and then I'm gonna go ahead and take the dark green color and fill in all the sides of this with that dark green? Yeah, it's quite a bit better. It's a little awkward to have the blue there. All right, so that's pretty much that was gonna do another layer on the very top with, um I really dark, greyish colored. And I probably so I'm just going to make this as dark. But there's that I want to be The darkest has got filling with this dark gray color Almost black, but not quite black. And then I'm pregnant. Lower the capacity afterwards, so I'm keeping it very dark right now. Just like a seat where it is. But I'll probably lower. They passed you that later. Okay, so now this lower that a pastie somewhere about there? Yeah, that's about right. Cool. So I guess that's about that, Actually, I think it was somewhere highlights in her hair. Maybe. So let's take this. Highlight the area around there. Yeah, that looks OK. I mean, honestly, I probably spent a lot more time on this regularly because you may be able to notice that now that the line art is gone. Um, the contrast in her face doesn't feel a strong anymore. So I probably go back and do some more shading into your face to kind of fix that. But for the purpose of this video, I think that works. So there we go. That's the illustration with the Leinart disappeared. So Leinart. No Leinart Leinart, no Leinart. 7. Final Comments: and, um yeah, And if you want to continue toward opportunity, I would definitely go back in and, uh, bump up some of the shading. I wonder if I could do something real quick. Another I just bumped up the shading just a little bit to get kind idea what? It could end up being like there still is an issue because we're going from a very flat two D image to once you to get rid of the lines, it immediately makes it more three dimensional, or it feels like it needs to be more three dimensional. So that's why I feel like the shading is kind of not quite up to par now that the lines are gone. So I definitely want to go in more and do more with it. But you get the general the general gist of it. So that was with, uh, with all the Leinart. And then it must take liner away. Um, So, um, maybe in one of the future videos, I might do a full on Austin ut, where we go from, start to finish without, with the and goal of being a completely rendered like nonlinear drawing. But I think for that would probably have to start with the new drawing. So I think that would be the end of how far we take this particular illustration. So that's all for the job. Japan Cell Shading Siri's If you have any other questions, let me know when it may make future videos debate based on your questions in the future. Uh, but for now, that's it, til next time you know she could.