PHOTOSHOP: Inking and coloring a sketch of a comicbook character | Damien Barban | Skillshare

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PHOTOSHOP: Inking and coloring a sketch of a comicbook character

teacher avatar Damien Barban

Watch this class and thousands more

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

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

6 Lessons (1h 3m)
    • 1. Introduction

      0:20
    • 2. Starting the inking

      12:46
    • 3. More about inking

      12:09
    • 4. Completing the inking

      17:02
    • 5. Starting with the color

      9:51
    • 6. Completing the inking

      10:47
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About This Class

In this course you are going to learn how to use Photoshop to complete a scanned sketch by adding the inking and the color with different lawyers and brushes. This technique is a very common one in the comicbook creation process and is vital to be known if you want to produce illustrations rapidly . 

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Transcripts

1. Introduction: in this course we're going to use for the shop to scan of catch illustration to ink with different tools proposed A for a shop and you complete the restriction by adding the color , we're going to see the use of the layers and of the brushes. 2. Starting the inking: first, we're going to see how to start with push up and this fancy off catch we have here escaped . That is very simple, and we'll have to change a few things to make it to transform it into a colored and complete illustration. So the first I just can the illustration and I have only one layer. I can create a new layer. You need the words of mice after a French will recognize on just creating a new layer this layer. I'm going to use the different tools here on the left, and I will first try to do inking the thinking in during the black outlines. That will be the last final lines that you will see when you're driving so you can see that I have to test to find the right brush. And I'm going to stop by first choosing the right brush and right size, and it will depend off the side of the lines. I try to bring something that is not too big, not too thin, so you can do different tests and control the if you're not satisfied with the lines. But you can see that this inking part is down on the layer that both my, uh, original drawing. So I'm doing different tests and according Teoh sensibility of the tablets of the graphic Tim, like you're using, you will have to zoom in or zoom out. It will really change according to device you are using to draw. And then I started drawing some lines. You have to be very precise in the lines and precision is will be different according to the tablet or using. I'm using what Come 13. And this is very, very good stuff, too, to draw on the computer against. See, here you have different options when you, uh, use Kistane exceptions of the brush and you can just check if you find something that is really more close, which 12 to use. But I'm really advising you to use a basic oceans to start. If you don't have habits to draw to ink illustration with full of shop, you will see that the basic options are very good. Just so even the rays and you can just stop thinking for the various full details. Eyebrows off the lines of the eyes. I really try to zoom in as much as possible, but as we have do digital drawing that you scanned something with a certain quality at one points. When you will zoom in, you will find pixels. And when IFC pixels on a drying, it means that you reached the maximum size off your of your dreams. If you have peaks off when you are not zooming eight much, it means that use can with two poor quality, and you have to change the DP i the DP I has to be at least at 300. When you scan, you should be able. You have to scan to change the DP I from 100. We should report to at least 600 high quality, but of course, more have. Dp i more. You have a picture, our file, that he's easier. But if you have a computer that she's going to work on, very he file, so it's it's much more interesting. Otherwise, if you try to incur to create several layers and finish up with already very E v file, you could have some option that could slow down your computer and make your thinking. Are your use a friendship less interesting? Much more difficult, but you can see that I'm trying to draw the lines without any hatching are hesitating lines . Then I can drove small lines in the face of the character. I'm not necessary Changing the size of the brush. I'm just using less pressure with my tablet. If your tablet is not good enough, you will not be able to do so small lines. So you will have to change the size off your if you brush. So this is why I have to test according to device for easy. I'm right now focus on the face of the character. But it would not be a mistake if you will be using the inking, Uh, by starting with main lines of the character and then working on the details. You can see here during the hatching in some areas of face. And this hatching has is supposed to represent the shows. You have to respect the fact that hatching has to be done very clearly and always in the same direction. If you do something that is going to be too random, it could give the feeling that the character has some fewer in the face and it will destroy the aspect of the of the hatching for creating shows for the hand. She's already something very sensitive to drop because hands sometimes very hard try to do not choose to lines to do the outlines, especially here where the hand is very closely face. If you have a difference off size between the outlines of the face and hand, it will create a difference that is not really fitting. 3. More about inking: then we continue in the second part off this course to see how to complete the upper side off the drawing. So now we're done with arms way have the torso with this part of the draining that has to be done with very clear lines. Now she has a shoot that he's very where she's very tight s so we have to draw the main lines of the body. But we have to add some lines that we give the feeling that she's in a shoot. So make sure that every lines are very clear and not can see here such details. But you can feel with some shadows and sometime going to erase lines that are too much. And I'm really zooming in to make sure that every details of the class are down. So you can see that in addition to the originals catch, we have to add some details while doing this kitsch. - Then I'm drawing the length and the sketch is very, very simple. There a rough so we have to complete if it's not a problem if you really know where you are going. But if you have to give your skits to someone else we supposed to do the thinking, make sure that you draw something more accurate. It's otherwise. The interpretation of the person doing the thinking could be wrong, and such detail be not enough for someone else. So here, this example is very Ah, a simple example off thinking. But because characters is also very simple, as a suit is very simple and you can see that the fruit is really in the back. In the background, we can say so. I'm just filling it with full black color. This make thing is enforcing the difference between the two. The foreground and background is a very important where, especially when the character is in movement. Now, almost old basic outlines of the character are done. I can start accusing under small details, and these details are basically done with some hatching over drying, especially on the shoot. If you want to give the hashtag, that shoot has bean quite damage. Are is just not a flat. You can add search details, but you will see that when this is done, you can also check something by raising are, uh, getting the original sketch hidden just to see what the thinking is looking like. And when this is done, you can also create in your layer. That would be the widely white paper below your thinking. And then you will not have any more the need off showing the original scan slayer. So you have the sketch there. Then you have a white page, white layer and a wolf. You will have the thinking, and this layer is going to be just what you need to complete your thinking. You will have only the black lines, and you will have to complete it with additional details. Maybe you use a small, smaller brush, and you complete with such details like what I'm doing here with their hairs. 4. Completing the inking: and we continue in the £7 to draw the different details. This would include the shadows here during shadows just to give the I d that we have some distance between the hairs and the face and adding some hatching. Yeah, Then we will see that many shadows are going to be added to this administration. - So here I use more technical things I use. I completed the face with additional shadows, but at one point you have to say Stop. Otherwise it would be too much. Now we are feeling the shoot with some black areas. We're working with the selection tool for shop. I'm selecting areas inside ID arms and inside different parts and just feeling with black color. So he's going to give something interesting and we will see in a minute what is the final result of this. - Then when this is done, we can complete the details by hatching by adding hatching and fuel lines, too, to do not stay on just very simple black forms and all the lines draw around. These black forms are completing the the fact that the shoot has some details and beat them age and some realistic details no, just full light and full black areas, and you will see that when we're at the color on it is going to be very relevant to have already such details. But you cook to complete is catching. You can add white a chain techniques. You just like the white color and you add these white lines in black areas. - Then you have to find the right balance between black areas and the white. You will see that the part of the body that are exposed to the lights will not be filled with back Onda, and the parts that are going to be filled with blacks are inside of do body forms and maybe like here, bill the arm and inside our rights. It's not always easy to find where we can put the black and whites, but you have to find a kind of bands and have something that is equal on not just part of the dream that is full of black, another power that he's full of light. You have to find the right Bonds. - Then , to complete the thinking of the illustration. I am using a very classic coming book technique to draw the power around the hands off this superhero are these. I don't know how we can call her, but she's differently. Using, uh, men met magical powers. So this technique, it's just to draw black points, which represent some power. And you will see when we're radical. Repeat will definitely give something very interesting. All right, so now we added some additional special effects. If we can call, then so and when it will be done. What was tell with car? 5. Starting with the color: here is the final result we're going to do with the coloring of this illustration. So we have the black and white nutrition and we have couples off layers with the sketch the king and we have the white page that is going to be very useful to have the final view off the work done here. And we create a new layer, this layer is going to be applied. The option product that's is going to be very useful to have a transparency effect instead of heading the color. Um uh, raising the thinking that season layer below is going to be transferred. So in first place, we're going to work with the first color for the background and for so for such color dream to rendering gradients. So here we work gradient color. You can change the orientation of the radiance acronym to these options. I'm going to select normal greetings with only one direction. And here is the great into music. So I'm using the radiant and I know playing the product not, and you can see that the thinking layer is now visible in transplants. Even if this layer this is very important, otherwise you cannot work these days. So now my, uh, layer is a marine. You can see that this layer you can select with the selection tool by you could just select do arias of the character. So you work on the black and white layer and you said, like, different and you go back on the color of the year. Then we select another color. It's all those shoot. It's going to be a kind of blue, and it just fill and feel are in first place. You can also extend the selection areas seduction, and you have modification of the seduction and you can increase this seduction. Why? Doing such a seduction and to why, to a large selection from to our free are even 10 pixels. Just because when you selected with the selection tool with the black and white there, you will still have some peak sales remaining and selected. So you a non registration and then you feel with the color. Don't miss ST Die 16 the room layer, especially when you apply the color. If you apply the color on your back and white, um, include creasing problem, but you just have to make sure to apply the color on the color layer. So when this is done, I'm using the graphic talent to complete and to feel with color and selected arias. Then I'm doing the same fault skin for the hairs for hand, and we were just playing to stop flat colors. - When you are done by playing fat colors, I'm now using a different brush. This is a hair brush style with the white car, and I'm applying it on the arias where she's supposed to have some power and she has powers effect around the hand. So in a fit because she's flying by pushing some fire with this. So I'm playing this very rough effect these areas, and you will see that this effect is done also on the black and white layer. Why? Because this is the kind of erasing a little bit the black color just enough to create this kind off shining effects. So you in raise a little bit, not too much, but just a little bit. This these white lines and you will see that you have do hands just a big green light shining 6. Completing the inking: then, when we're done flat colors, we can add some flat areas, but with the color that is a bit different. It is a bit darker just to suggest some shadows on the face, and this is done on the other side. Do one where the light is touching. You try to be a logical when you add some shadows, especially if you have a light source on your picture. The hand around the hands to hands of the character are could be considered as a light source, so you don't put shadows just behind you. Make sure that this is the right of touching the character at this place. You don't have some shadows now you can actually on the other side, and this life's the left side of the face. Here is the place where you can add some shadows. I am playing with different colors from the skin and trying to find some different colors for the shadows. Some cars are very similar to the flat colors used previously and some other really more, much more dark, especially in the areas where we have more shadows behind the hairs and so on. - Do you enforce this light to change the character and to enforce the fact that this light is more you than anything else. I added some You small your lines on some areas, but not too much, just a little bit. And it's going to enforce the Google colors of the administration to do not have to flat colors for the face we can play with these different cars that always stay with the same colors. Don't use to much colors for this administration, this is the same idea for the hairs. I'm using a dark red for the details between every hairs, and I'm using more clear color with details off the hairs that's to play with dark color and clear color is going to give something very interesting of your illustration, and we are definitely out off just flat car. Give alms and movement to different elements off illustration. - Then we can use this shadow technique also on the office, and while we had some black areas inside, the craft is we can add around this black areas some dark blue color, and we can also play with light some light effects with clear blue on our areas of the suit that could be more exposed to the light. And to complete this with their interesting effect, you can add some additional, uh, do so to play the different values of blues is going to get your instruction more alive and with more movement, - and then can complete with additional details under fire effects and some additional details like points off yield and orange colors all around the power effects. So all these details are going to be added and completely will complete the illustration so you can play with different on additional layers to have some light effects. Don't feel don't imaging that you can just work with only one single colony. If you want to add special effects like this, you can play with additional layer when you will use the brush to cover some uh, back lines like what I'm doing here. It will give something. They're interesting entry. It will give more realize to a restriction, and the effect would be more efficient