Manga Effects in Adobe Photoshop | David Miller | Skillshare

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

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

Lessons in This Class

10 Lessons (32m)
    • 1. Intro

    • 2. Converting Pencil To Line Art

    • 3. Screentoning the Background

    • 4. Adding Textures to Clothes

    • 5. More Clothes Textures and Shading

    • 6. Speedlines

    • 7. Halftoned Backgrounds

    • 8. Panel Layout In Photoshop

    • 9. Word Balloons In Photoshop

    • 10. Wrap Up + Project

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About This Class


Learn how to incorporate Japanese manga screen tones to your artwork, create your own screentones, and transform your pencil work to solid outlines in this class focusing on Adobe Photoshop!






Meet Your Teacher

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David Miller

Multimedia Artist For Primordial Creative studio


I'm David, a multimedia artist in Phoenix, and my studio is Primordial Creative.  


I have always been interested in the visual arts from an early age- drawing, painting, and clay- but around my high school years I became interested in photography for the social aspect of involving other people, the adventure inherent in seeking out pictures, and the presentation of reality that wasn't limited by my drawing skills.


One thing in my work that has stayed consistent over the decades since then is I have an equal interest in the reality of the lens next to the fictions we can create in drawing, painting, animation, graphic design, and sound design.  As cameras have incorporated video and audio features, and as Adobe's Creative Cloud all... See full profile

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1. Intro: hello out there. I'm David Miller, a multimedia artist in Phoenix, Arizona. Today, we'll be learning how to use Adobe Photoshopped to create manga effects in our images. If you're unfamiliar with manga, the term is Japanese For whimsical pictures, as coined by the wood block, are is focused I and today that encompasses the style of Japanese comics. One of the main features of manga is their use of screen tones or textures and shadings applied to the drawings. In the pre digital days, thes screen tones were cut from clear templates and applied to the artwork. Today, it's all done in the computer. We'll show how to apply screen tones found from the Internet, but to create some of your own screen tones and also how to make your pencil work become Leinart your project for the classes. To bring your own pencil character into Photoshopped, convert them to Leinart and apply screen tones on their clothes and background. Post the finalized J. Pig on the Skill Share Project page 2. Converting Pencil To Line Art: So we're starting out with our line work, and this was brought in to photo shop. Actually, I just photographed it with my phone. I didn't even scan it. And you can tell. I photographed it with my phone because I'm casting a big shadow with the phone on the lower right corner. So I'm going to go image adjustments threshold, and you'll see that threshold will change my great work from paper and pencil to something that looks like ink. But I had that big black spot to take care of, so I'm going to make a few adjustments to correct this. I'm going to take the contrast down that's under image adjustments, brightness, contrast. I'm going to create a new layer using the little, ah new layer icon on the bottom right corner, and I'm going to use the brush tool from the left side to paint white, a red area. I'm going to use very soft brush with the hardness set to zero. You make it big enough that it covers that. Then I will change that layer too soft light that in photography terms is called dodging an area. You're making it brighter, and I'm going to hit all these other areas around it to just so and get a more a unified area. Get rid of all those shadows from shooting with my phone. If I had scanned of his piece instead of shooting at my phone, I wouldn't have this problem to begin with. So back to threshold. I still have a little problem area, but it's not eating up the entire bottom of her dresses before I'll put it like this. And then I will simply paint white over that area. If I painted with the hardness set to zero, it's going to put a feathered dithered paint look on the rest of the dress. So I turned the hardness back up to 100 and now I have my line work, crop it a little tighter to get rid of the excess that he don't need. Now we're ready to start applying some screen 3. Screentoning the Background: Now it is time to apply our screen tones, and in a later lesson, we will cover making a few of your own screen tones. But for now, we're going to use ones that I have actually downloaded from Google, and it is very easy to find manga screen tones. Do a quick search for that look for the highest resolution you confined, and a lot of this stuff is public domain. People make their own screen tones and put them on deviant art or other sites, intending for other people to use them. So no worries. These are what screen tunes I currently have. You see marble, you see, ah, black sky with moon, you see some shocking lines. Let's throw that moon size there. You'll notice how small it is when I dropped it onto my image. And the reason is, even though I probably downloaded a high resolution version of this, the photograph itself is really, really, really large. It was taking with my phone, and if this is a single panel in a comic strip, you don't need it to be 47 inches high at 72 pickles per inch. So if this is print I'm going to use 300 pixels per inch, and I'm going to change my height to something much smaller. That would be, ah, more equivalent to a comic panel. Everything looks good. You can definitely see the size has decreased. Now I am going to read. Drop my file on top of this because what happens when you drop a file on top of another file in Photoshop is it creates a smart object of that new file, and the smart object is able to be scaled without losing a lot of its detail. Drop it on top looks at least 1/4 of the size bigger. That's OK for what we're working with. So I am going to scale that up by grabbing its corners like so feeling the area being okay Now this little icon here shows me that it's still a smart object, and that means it's not directly edit Herbal. I need to go to Layer and rast arise. Now it is straight rast arised image. It's pixels. I can cut it. I can do all sorts of effects to it. That's okay. I'm going to select my girl and the tool I'm going to use is this selection tool. The magic wand won't work. In this case, The magic wand allows you to pick, uh, pixels within a defined area, but because there's holes in the drawing, that magic wand would run all over the place. So I'm using this selection tool instead. And when I go over to my other layer and hit delete, I got in most of the girl. There's definitely areas that I had missed, so I need to go back and refine my selection. Always make sure you're working on the correct layer. That's one of the biggest mistakes people make when they try and select things. And it's not working because you're on the wrong layer and you can tell which layer is active by which one is the lighter gray color. All right, brought back over to my other area, turn the opacity of hit delete again and set the blend mode to multiply. That's one of the most important things to remember when we're working with manga effects in photo shop is that most of your layers are going to multiply on top of each other. That will show the line work of your original drawing these areas here kind of problematic because they, uh the drawing is not complete. You see, the skirt just sort of tapers off here, so I'm gonna do my best, and then I'm probably going to have to you use the Polina Lasso to cut out the rest of the area. Another option would be to just simply crop within this defined space up to where the lines on the edges of her dress end. But for now, I'm going to just draw a polygon that completes the dress. The political lasso is the tool I have highlighted in the left toolbar. It's not going to have a natural look. Everything is going to be a straight line with the political in last. So so I would avoid this if possible. But, Nuria now there are a few random oddities. I'm gonna clean those out areas that interfere with the dress areas that I never got selected properly like this. Her hair area fairly difficult to get all of that selected properly. I'm going to use a smaller race tool and maybe try and select that area again. There's always gonna be a little bit of clean up. The more you do this, the more that you making sure your drawings aren't overly complicated or that they're easily selectable or even that all the lines were closed. So when you convert your pencil tow line work, you can use the magic wand tool and just select all the pixels within the lines that's about got it. 4. Adding Textures to Clothes: So now we're going to add screen tones onto our characters close. I am using some screens that were made just from scanning all the fabrics. So these kind of lacy things you might even have something like to surround your house. If you scan it or photograph it, you'll get a nice pattern that you can translate onto your manga character. I'm going to duplicate this layer because this particular screen tone has four different patterns on it, and I want to have a different pattern on the girl's skirt and a different pattern from her shirt. So right now I'm going to work on a start. Use the quick selection tool again to grab our skirt areas. Now, because of how I did this earlier, you'll see those little corners on the side of the skirt. I need to get rid of those I will in a moment. First, I need to I need to see where the pattern fits, and then I need to Rast arise that layer, so now I can edit it and hit delete. There's my skirt, change the opacity to get it to where you want it to be, and when we solo the body there were given to the background. We see those little wings on the side. I'll zoom in. I use the Polina last there to cut those off of my texture layer. Once again, my texture layer is set to multiply so I can see through it wrong layer so I can see through it. See the actual line work below to eat that. 5. More Clothes Textures and Shading: So at this point, I'm going to speed up the process a little bit because applying screen tones to her shirt and her collar, it's pretty much the same thing as this skirt. There's a long history in Japan of using pattern paper for things like origami or applying to paintings and wood blocks. So I figure the more screen tones you apply to your work, the more it has that flavor to it. And if there is a place, you can imply them like carpeting. Uh, the textures on couches. Anything like that, I would say. Go ahead and do it. You're also saving yourself a lot of drawing time, and you're making your work look more detailed and more rich and more riel. So we've got a shirt on her. We're going to quickly do the same thing for the caller position, are lace solo it out pasteurized file, change the opacity, and now we have a nice blend. I'm not so sure about the background. I'll probably get rid of it replaced with something else. I'm gonna just capacities all around because I want to see what she looks like Now. At this point, we're going to add shading and we're going to solo out our person. We have collapsed all our layers onto our person, So instead of being the person end multiple screens, it's just one layer on my background. I'm going to use the magic wand and select the empty area, and I'm going to go back to my person with that selection around her. And I'm going to expand that slightly because the selection in the background did not include these black lines. If I zoom in super close, you can see how pixelated it gets because I'm, uh, well over 100%. But I want to make sure that my selection is getting some of that black line as well. One or two pixels do it. I'm going to apply an inner shadow to this selected area. And if I didn't expand my selected area in the inner shadow would have had, like a little white halo around the girl boobs. That would be everything but the girl. Okay, we'll copy her and paste on a new layer will do in her shadow to our new copy. It's easy to cut and paste when you already have your figure selected. I'm going to mess with this inner shadow. You can region or shadow with that little effects button on the lower right part of your layers panel. And once I get something I'm happy with just to give her a little bit of three dimensionality, do some re titling. It's always good to do some clean up, multiply it. 6. Speedlines: Now we're going to make our very own speed lines. These airlines, that company all action in manga. We're going into filter. We're going to select fibers under a render. As you can see, any adjustment on these two sliders gives me some speed lines. Once again, threshold, pick what you like. It's vertical. I'm going to rotate it sideways so it's horizontal. And then I'm going to get rid of that big black blotch on the left side just by cropping it down. The crop tool is on your tool palette to the left. Instant speed lines. Of course. You confined speed lines, these air basically the same. They just have a little bit of a blur effect. Apply to them. And then there are radial speed lines. Thes were all found on Google. Very easy to find. Free to use. Place it over the figure. This is more of a shock line, like somebody said something shocking. Switch to multiply, just need to reposition it, so that radiates out of her face, as it commonly would do 7. Halftoned Backgrounds: so I'm gonna go ahead and replace this star background with some clouds. I have a cloud screen tone here. It's like 1/2 sheet of paper and you can see it's very small. In contrast to the size of my figure, I'm gonna make some adjustments to make it look good. This was also created with half tones, so I'll do it quick tutorial on Matt in the next lesson. But half tones are tiny little dots that when they're close together, they look more like dark grey or black, and when they're far apart, they look more like a light gray or white. So let's get rid of this background entirely. Well, we're gonna need it for a second, because we need to select our figure once again, just like we did when we did our shading cut her out there said to multiply and you can see how those tiny dots spread out. I'm going to put a little blur on it. I'm gonna use Lens blur, which is under your filter and looks good so far. Let's hit. Okay, See, or we like it. The lens blur actually pull off the edges of her that offend of that. Let's go back a couple steps. We're going to change it to Threshold. We're actually emphasizing similar those printing flaws. This is creating weird patterns, but I kind of like it. And if you are a manga fan, you actually read the comics. You see this kind of stuff quite a bit. So at this point, we're going to show you how you can make your own half tuned background. This is a cloud shot I did with my phone, sent it over to my computer, opened it in photo shop, and then we go image mode. Now we want to switch to a bit map. But to do that we have to switch you to gray scale first grayscale and bit mapper right next to each other. An image mode. You have a few choices here. 50 would have been fined, but I like to put it at 45 because I like these really obvious half tones and you can see it's very body right now. Switch it back to gray scale and now I have a picture I can actually work with Onley. One other thing I really need to do, and that is make it a little blurrier because, as they are, it looks too much like a computer graphic. So go to blur most anything. A work I'm just going to use. Regular Old Blur. Click OK, and now let's do a little comparison with and without the Blur And there is your very own half toned background. There is 1/2 tone option in the filters. I really don't like it. I think converting grayscale bit map back to gray scale is a better way to achieve this effect. 8. Panel Layout In Photoshop: Now we're going to talk about panel design and word balloons in photo shop. So I'm going to start by creating a tabloid sized document. This is 11 by 17. If you want to work low rez until you're ready to put your stuff in you can. I like to work at full resolution, so I'm putting 300 pixels per inch, and I'm gonna call it comment page because one thing you're gonna learn when you do this a lot is if you have to do the same work over and over. It's much easier to save a template like a generic comic page that you can modify also generic word balloons. So I'm going to view, make sure I've got my ruler showing mostly going Teoh View Grid. And at this point, I'm going to draw from the corner Teoh, where I want my margins to be. Now this is gonna be different on everybody's page and everybody's taste. But once you pick a design aesthetic, you really need to stick with it if you want your comic to be legible and your style to sort of match the aesthetic that you kept. So I'm drawing rulers down to about two blocks in on each margin. You want a tighter margin that's up to you. If you want no margin, that's up to you. Just be aware. If you try and print these out, you might have to do something called Full Bleed. And that's kind of expensive. Now that I've gotten to blacks in, I'm going to use the rectangular marquee and I'm gonna draw a panel. And if you have your comic roughed out on a piece of paper, you're saving yourself a lot of time than just randomly drawing panels like I am but going to go ahead and stroke it so you can see what it looks like. This is where you put a black outline outside of your panel, so I gave it a stroke of five pixels. Again, it's kind of up to you, whether you want really thick borders, if you want no borders to your panels at all. I do think it helps the ledge ability of a comic if you have borders to them, not because I stroked that panel on its own layer. Aiken drag that layer down, and I've duplicated it. Now I have a duplicate panel and you might say to yourself, Well, I don't want all my panels the same size We're going to transform it, but I really want to show you how. Once you have a panel that has a stroke, you can just replicate this and reposition them all over the place. It's not going to affect the stroke size. It's going to stay five pixels or 10 pixels or whatever. You have it set up as let's turn off the grid so you can see what it looks like without anything else. Show the green again. I'm going to name my panels because it's a good idea to start naming your panels from the beginning. Oftentimes I forget about this, but there's gonna be a lot of confusion if you have a bunch of things that are just named untitled layer layer one layer to that sort of thing. Now panel design and placement is really crucial in allege ability of a comic. If I have medium size going to small next to a long one, that sort of cuts into the space of the 1st 1 The reader might not really know what order to go and because you're saying one thing is super prominent, and that one up in the corner is kind of like lost in the shuffle. That isn't to say I haven't read a number of professional comics that have sort of, ah, chaotic panel layout, ones that are kind of hard to follow. But if you really want communication to be clear to your reader, it's a good idea to have them on essentially the same level. So I have my top row of panels have my middle road panels. I'm gonna have my bottom row, which is just going to be one long panel. The reason why we have certain size for panels should be story reasons, and not just I have his blank page, and I need to put a bunch of panels and then fill it with pictures. A good strategy for what goes and what panel are small, intimate moments, small slices of time in the small panels and then changing of setting or the epic moments. The crucial storytelling moments get the larger panels because you're giving it more space . You can fit more detail in 9. Word Balloons In Photoshop: Now let's start to do some word balloon placement going to create a new layer. I'm going to use my elliptical marquee tool and I'll draw basic word bubble. I'm gonna go ahead and paint bucket at White on. Then I need to give it a stroke. Change the stroke back to black. Five pixels is fine. I like my strokes to be consistent between panel design and we're balloon design, but it's kind of up to you. You'll notice that this is way above everything else. It's merging with my white gutters, so I'm gonna move it underneath everything else. Then I'm going to draw the tail of the word balloon. Go ahead and give that a stroke. Give that a fill of whites almost done. You'll notice that we have this little do dad here that goes into the word balloon, the overlapping segments simply going to paint that out using the paint brush tool. And do this. I really shouldn't make sure the paintbrush is but small enough and that it's at 100% in its hardness, and it has the right color of white. So I'm gonna go ahead, sample that white, check the hardness move it up to 100. Change size a little bit so it doesn't end up painting over chunks that I don't want it to paint over. Here we go. And if you want precision technique, I'll go ahead back to my selection tools, draw out exactly what I want to have painted over for these little bits and then knocked him out with the paintbrush. And I don't have to worry about hitting other things that I don't want to paint over. Okay, I have myself a word balloon, and the best thing about this is that this word balloon can be resized. It can be flipped to another size. Looks like I accidentally grabbed a portion of a bottom panel something. Go ahead and select my word balloon all on its lonesome using the rectangular marquee tool copied it. I'll cut it. Make sure I label the bottom panel so I don't make mistakes like that again. I'll paste it back on and now and show you that I can stretch it, reposition it, you might say, Well, I want a word balloon like that, but it's crossing over to the next pound. Can anything be done and The answer, of course, is yes, and I'm going to capture it and delete it before I really want to delete things, though. I want to save this word balloon because, as I said at the beginning of this lesson, if there's anything you can do that will quick in your work, you should do it. So I copied that handle. I'm just saving it to the clipboard and paste it. I'll save it as word Berlin, and over a period of time you're going to build up a library of word balloons of panel pages on. It's really going to speed up the process to have all of this work saved. 10. Wrap Up + Project: so we come to the end of our class. I hope you learned some new techniques that you can apply to your own creations. If you stick with the process for a while, you'll build up a large library of textures, and your art will feel more real and concrete and expressive. You also feel less reliant on your ability to draw every single line of texture for clothing or backgrounds. Don't forget to do the project. Bring your own pencil character into Photoshopped, convert them the liner and apply the screen tones post that finalized J. Peg on the Skill Ship Project page. Also, if you have an interest in other photo shop or comic illustration classes, please check out the many other tutorials I have in my skill share. Profile page. Thanks for watching.