Clip Studio Paint - From Beginner to Advanced

1. Introduction: Clip Studio Paint is the premier illustration and create a program out there today. It has, over the last few years, eclipsed all the other programs that had a claim to the throne. I'm Ed for Egypt. And I'm going to take you through this journey of learning how to master subsidy or pink. There's so many things that I would be excited to teach you. So buckle up because we're about to jump into this. In Clip Studio Paint, we're going to learn how to understand and modify your workplace to suit your needs. Will learn how to program hotkeys and then how to get into the massive tool chest, that Clip Studio Paint off. We're not only going to get familiar with all the tools and brushes, but I'm going to teach you how to create brushes of your own. And then we move on into cool perspective rulers. Learning how linear perspective plays out in Clip Studio Paint. After that, I'm going to take you through the basics of understanding layers. Being able to understand how layers work, how we modify them, and then how we can move between raster and vector types of layers. After all that is done, I'm going to show you the cool part of Clip Studio Paint. We're gonna get into creating stories. Because really at its core, that's what Clip Studio Paint is all about. We're going to learn how to create common. From start to finish. Learning everything from Page Setup, panels, balloons, and even broaching into the new web toon style. Next up, we're going to get into 3D models. Clip Studio Paint has a lot of materials and assets that we can delve into. Starting with primitives and basics, learning how to push and pull and modify them. And then moving on into figures, understanding everything from posing, editing and lighting, all the way into animation. So are you ready to master and Clip Studio Paint? Well, I'm Ed for Chuck and I'm going to be your guide for that journey. Are you ready to do this? Are you ready to learn all of Clip Studio Paint secrets? I know why. So let's get to it. 2. Comparing CSP Versions: Hey guys, In this unit, we're going to talk about the different versions that Clip Studio Paint has to offer. There's currently three of them out there. But word on the street as there's more coming. If you haven't purchased Clip Studio Paint yet. And you're just kinda previewing this. Watch this course and it might help you make that decision. If you have purchased it. Don't worry. There's things I can do to help you with it. Okay, guys, let's talk about Clip Studio Paint for a quick moment here. Before we really jump into everything, right? A lot of people ask the question, well, why Clip Studio Paint? Not nearly as well known as Photoshop, e.g. talk to the average person on the street and they don't what Photoshop is or at least have heard of it. Clip Studio Paint is either becoming or he's already the software for comic book in illustration art. The tools that are available within it for comic book Making. By far better than anything else out there. The pen strokes and the append adjustments and all these types of things also make it amazing for all of your linework. It is a great, great program. Photoshop is also a great program, but Photoshop is well Clip Studio Paint is usually ten to 20%. The price of Photoshop. Adobe products are very expensive. And even though they're great, they're not always great for entry-level artists. And this is where Clip Studio Paint comes in. So what version should you use? Well, we've got three different versions outlined here for you that you can take a look at. Some of them might not be available in your country. It depends on where you live and what you see available for downloads and stuff. So just keep this in mind. I'm giving a general overview of the different versions that are out there. So debut is a demo. It's only got a few of the surface level functions. You can make. Similar Lego single-page illustration. You can have some basic animation tools. And you can have a number of materials, especially 3D materials and stuff like that. But you're going to be very, very limited with his debut. It's really just to touch on the program itself. And I've generally seen it out there for free. There's a reason you get what you pay for, right? Then we've got pro and EX. Both are very good versions. So I'm going to look through it and just kinda talk about the various functions within Clip Studio Paint before you jump into actually studying it, right? Single-page illustrations, that type of thing, whether it's black and white or color or whatever, pro and dx both habit. But when we get into the multi-page, putting together an actual comic book with all that that entails the binding and all that stuff. The organization of it all only EX has it. Vector Layer is both habit. The customizable brushes and pans and all that kind of stuff. Both habit. Both are quite good for that. The animation tools both have it, but you're limited in Pro. You can see that little asterisk, asterix here and stuff. In this one, you only get 24 frames in the eax. Mouths unlimited. Okay? So if you're wanting to get into animation, well, as the version for you. Just because it's so limited in the Pro 24 frames is just an animated GIF maybe or something right? Next one is converting images in 3D models into dark shading. Well, only EX has that. Okay, we're using sweeten films and stuff and printing and exporting multi-page documents. We've talked about that a little bit up here with the multi-page files as well. This one helps you for your printing your comics. And the number of materials. Whether it's 3D and all of these things, you're pretty good for priority x. Fundamentally, EX is the version you want if you're gonna do get into animations, or if you're getting, get into making imprinting comic books. The cool thing about this though, is if you buy Pro and you find it down the line, maybe six months or a year later. You, you're like, Hey, you know what? I finally want to do my comic book, right? There's always an option to upgrade to eax and it'll be a cheaper way to upgrade, right? You don't have to go with and then discard your pro version just by the EX version. You can actually, it's kinda like paying for that little bump of an upgrade. So don't worry about it starting with pro, generally, I think you're safe to go with a little heads-up though. Starting beginning of 2023 or thereabouts, they plan to launch version 2.0. With 2.0, there'll be some changes. I'll be updating that in this course. But there are some changes to these versions as well. Okay, So just so far my advice is sound on this, but I always leave room for a little bit of an edge there, right? With version 2.0, I know you can have a onetime purchase and you can purchase the product, but they're also wanting a bit of a subscription model for free updates that keep coming with it. I'm not always a fan of subscriptions, but Clip Studio Paint has yet to do me wrong. The amount of money I paid for Clip Studio Paint. And you can always find sales online. The amount of money earned from Clip Studio Paint. Honestly, it's worth its weight here. Guys, take a look at this, take a look at this sheet and see which version is for you. But if you're just starting out, I'm going to say GoPro. So what do you think? You have the version that suits you? You have the version of Clip Studio Paint that's suiting your needs? I'm going to wait your yes, right? It's a great program with a lot of great functions. But realize that down the line, your needs might change. And you'd be surprised because Clip Studio Paint changing with you. It will either give you more options for upgrading or the updates will bring you to where you want to be. I hope this helped guys. I hope this helped you make a decision of which version suits you best. 3. Setting Up a New Document: Hey guys, In this unit, we're going to talk about setting up a new document. Now, this is almost like your quick dive or something like that, where you can just jump into this. And you kinda don't need anything else if you can just do this and you need to do something fast. This is a unit for you. You need to create that fast illustration. Watch this unit, dive on in and get created. Okay guys, this is it. We're setting up our first unit here, and the first unit is going to be 0. Setting up, setting up a new document. I put this first because quite frankly, that's probably what you're asking for. You want to just see where you can start and get rolling. So if you've ever watched any unit might as well be the first one to answer your questions, right? So how do we do this? Well, I've got this. I've got my whole setup right in front of me here. And I'm gonna make it easy for you. All you do is come over here, hit File New. Now you're going to get this pop-up. You can see this pop up, this new window and it gives us a few options up top here. The easiest one is going to be just looking at this illustration. If you want to just start here and say, okay. And now you've got an illustration. We're gonna get into loop bit deeper into that. Go back to new, pop up here and we've got an illustration. We've got kind of a comic book page format. We've got printing of magazine basically. So here we've got where we can combine it all and make a comic book with pages, outlined, chapters, all that kind of stuff. It's really cool. And at the end here we get into animation. Now, each of those will break down a little bit more as we go forward. But I just wanted to give you an overall look of things, right? So let's say we go to this illustration. Well, what do we have coming down here? We've got some options. These options are the width, the height, and the resolution, the width of the paper. Pretty sure you guys can guess that right leg, Let's say if I want to adjust it and put it to ten, you can see that squares a little bit the height of the paper. But the 20th. And now it's more of a rectangle. And I can switch these, right? All I do is come up to assign me hit this little switch and it rotates. And it can alternate them. This right now, this width and height that are measured in inches that are off to the side here. What you can do is drop it to centimeters, millimeters, pixels points, all this kinda stuff. You got a lot of options here. So depending on whatever you're comfortable with, You got it right here. And then resolution. This one's kind of a funny one. This is right away. I got mine set for 300 because that's what I often work in because I'm heading towards print. But if you're just looking to get something quick, That's way too much detail for you. You can pump it down to 100 if you like. Okay. But anything over or rather anything that you're hoping to print, you want to hit the 350 and above range. Once you start going higher than this though, once you start getting into the upper numbers, you're going to realize that your system, depending on the computer you're working on my bogged down a little bit depending on how much details in the piece. For just a sketch, keep the resolution low. For something that you want to print. Grin, poster size, you know, that type of stuff. You're going to have to bump that resolution. Just know that it's going to chug your system a little bit. You can go into the different settings for expression of color. You can go color gray or monochrome. I always work in color, but that's not always the case for some people like, let's say they're working on a manga, right? They might just hit monochrome. You can see how when I switch over, then I started to get a lot more options going on here. Alright, I've got a lot of things going on here. That's what this is looking here. I've got these blue lines. What that is this blue line outline is related to bleed, meaning bleeding, trim. It's it's how much room. When I go to print that I can work in this inner box here. That's really my working space. That's where I'm gonna put everything vital, anything that goes beyond that. I've got to realize that it might get trimmed off when it goes to print or when the packages are folded and that type of stuff, right? So it often, You know, obviously it depends on your settings and what you do, or rather what I do is go to a printer and ask them first if I know I'm going to be printing through problem or another online print or, or somebody in the city. I'll go to them and say, Okay, well, what are your paper measurements? What size should I be using for paper? If I'm if I'm printing a book, What's the trim? All these types of things, right. So I'll go through and I'll ask them and then I'll come in here and I'll set my bindings. That way, again, it can get pretty complicated. There's a lot of options that you can get into. Everything from that resolution to the binding sizes and the trim and all that, right. You could see how you can start to outline what kind of book it is, but you've got to cover or not. You can even add your story name and author and so it attaches it to the file. You can even add page numbers at the bottom. You can add this story information on every page. There's so many things you could do with it. It's kinda really awesome once we get into all of these options, right? This is the one that I usually use. It I've got it set for Pushing through compliance. That's a US printer. And you can see how I've got this, this trim exactly where they've got it set. So when you buy sometimes like 11 by 17 Bristol board and it's got the blue lines already put into it for the what can be cut off in print. Well, I took those measurements and I took the measurements off the complainant, set it on in here. So this is perfect for when I want to bring it to print. Back to here though, this is our simple or simple piece. We're gonna go back to a square because we're just sketching e.g. last option down here is paper color. You can come in here and you get selected if you want, say you want. This is basically setting your automatic background. That pops up right away instead of having to create some background layer on it or something. And we'll get into layers later. Don't worry, this just sets it. So let's say you want to pretend you're sketching in your sketchbook. Your sketchbooks probably not white. It might be an off-white. So I come into this color picker and I can set it as a nice little off-white. I can set it into a bit of a yellow if I want. Somewhere around there. And that just changes just a little bit. Okay. So once again, to review, we've got lots of options up here, according to the US, from comic books to, or from just a general illustration rather to comic books to full-on books and magazines, to animation. And again, we'll talk about animation later. Devote a whole unit to it. As we get down, we get into the sizing, the resolution. That's how much detail that goes into it. And then our basic background color. So if you're looking to just get into Clip Studio Paint and create a document. Go to here IT illustration, choose the sizing and say, OK, and there we go. We've now got a nice square that we can just kinda doodle and sketch on and do whatever it is we need to do on it. Alright, guys, I hope this helped. I hope this helped. For your jumping into it. Nice quick unit, nice easy way to get into it. And if something goes wrong, if you get into this, He's like, No, this is not what I wanted. I wanted an extra inch up here. What you could do is go edit, change canvas size and start to bump it that way. You'll get this little menu popping up. And now I can go in here and I can set it at, let's call it 15. That's my width. I can choose whether it comes from the side or not. I can choose whether it's expanding from the middle, all these types of things, right? So why don't I choose from this side? Say, Okay, there we go. And remember, we've got this kind of yellowish back, a sketchbook background, so it carries out over the whole thing. So don't worry, even if you mess up creating a new document, there's ways to get through it and fix it once you're in it. Okay guys. Hopefully this was an easy unit for you. Nice and fast, easy, breezy. And we're going to move on to something a little bit more difficult next. So I hope that was helpful for you. I hope you are able to now create a document really fast and furious that can meet whatever needs you have. You need to create that quick illustration and just get drawing. Now you know how to get to it. 4. Workspace and Hotkeys: Hey guys, we're back in this unit. We're going to talk about workspace. Now. Clip Studio Paint, really, really cool when it comes to your workspace. It is so customizable. You can drag and drop and put things up against the edges and all that. There's, there's so many options that you can have here. You can get a little overwhelming though, right? So why don't you jump on into this unit, watch it with me, and then see how you can customize your own workspace. Okay guys, we're back and in this unit we're talking about our workspace. Right here is my usual workspace. This is the flow that I like that I work in that works for me, but it might not be what works for you. So we can go into up top here. If we scroll along the top, we can go into Window, drop this down workspace. And then let's go down to say e.g. illustration. It's going to ask me if I want to keep my shortcuts and all these different things, I'm just going to click. Okay? And now things have changed. This is how Clip Studio Paint default for illustration looks. We've got pens along this side that we can choose from. My tool menu, color picker up here, and then the layers and everything off to the left-hand side and stuff. We'll get into this a little bit more, but I just want to show you how I can jump around on this a little bit. Okay, I'm going to come back up to Window, go to Workspace, and go down to comic. Let's see how this looks. Oh, okay. Well, some things are wrong here. Something's going on. Something's going on, and I don't like my tools are overlapping, my pen see how they were sitting here and that didn't look good, right? Something that seemed off. I'd put my tools in here and I didn't want them, I just kinda disappeared them. Now, what I can do is grab this tool because remember it was sitting on top of that before. And maybe put it there. I can put it off to the side. Alright, so now I can have my tools here, I can have my sub menu here and stuff, right? I can also take this tool thing and maybe stick it above. There we go. And now my sub-menu got dumped down way down there. So what I can do is kinda drag this up. So what I'm showing you here is that when you click on the tab of whatever it is in your workspace, you can drag it around and find work and fit. Usually it'll fit on the side of existing work space options or it'll fit inside and you can kinda put it over top of it, on the bottom of it, next to it and click Tab, something like that, right? So I can drop this down there. And that could be, Here's my tools, e.g. pen, and it shows up the sub tools there. Why don't I switch that and put it back up top, knot over top but on top. And I like that look right? So again, you can kinda drag things around. Let's say I want layers and I want it right on the edge. That'll expand it into my workspace. But maybe layers are super important for me. If I don't like that, I can move it on back, put it somewhere in here. I can grab onto something and make it look bigger or smaller. So I can drag things like this. I can drag this box a little bit. If you grab onto basically the border of that workspace property, you can move it around in its sizing. And for me that's important because maybe I want to put importance on something. So e.g. the tool properties I've got on this left-hand side, my tools selection of all my tools here. My sub tool panel, selection of fruit in this instance, brushes. Then I come down and it's the properties and I can adjust each individual brush as I click on it, I can adjust it in there. So this works really well for me off to the side here. If I come to this side, maybe there's some things I like. I don't like maybe I can shrink that menu. I don't like it that much or put it back and expand it right there. Fool around with all of this to customize your own. So that's what I've done. I go Window, Workspace and add one. That's how simple it can be named. And I go back. This is my workspace that I'm comfortable with. You can see it's almost similar to what we had before. I've got my tools off to the side instead, in this small little slip here, I've got the sub tool panel and then the tool properties and then brush sizes and all that. So this is kinda like my illustration side. And then over here I've got my layers side. I often in a lot of my projects have a lot of layers. So I want a lot of space in this. What I would recommend is once you've got something like this that you feel comfortable with, you shimmy did all around your desktop and say, okay, this is the workspace that I really like. This is what I want, right? Come back to Window, Workspace and register workspace. And now you can save it. Like I said, I did mine is at one, so I don't have to say that, but you can save it as whatever you want. Hit, Okay. And now you'll have that as one of your drop-down options. And you know what? Honestly, you can switch it up. E.g. let's say you're doing a little bit of photo editing. You can have one for photo editing, you'd have one for illustration work. You can have one for comic bookmaking, one for painting. If it shifts that much according to what you're working on and your workspace as a priority. For me. Changing my workspace is important because I want to have a very good workflow. I want to be able to achieve what I want to be able to achieve as quick as possible without hunting around for something I might want there I'm searching. I'm like, Oh, where did that go when I'm trying to find it and looking through it and then coming in here and saying, okay, well, where is that? It's up here maybe and I'm looking. Don't waste your time. Take the time. Maybe not right now. But eventually what I want you to really do is when you feel more comfortable set up a workspace that's just for you. Right now. You can go with one of the defaults. But as you work with that default, you're going to be like, You know what? I don't like that there. I don't like how much space they've dedicated to this. I'm going to shrink it out. And then once you've kind of started to adjust and adapt and all that kinda stuff. Make it your own, and then save it as your own. Save it as your own so that you can be a faster, better, smarter worker in Clip Studio Paint. Hope this helped guys. I think another thing that might help, or at least helps me, is understanding hotkeys. I don't use them tons somewhere. This, I see that it's almost like they're doing this piano dance as their drawing and stuff like that. They use them for enlarging brush size and decreasing brush size and all that kinda stuff. For me. I don't do it as much. The I know I've got a certain number of keys that I use often and that's it. The rest of it. I don't use it so much, so I hunt through the functions, right? So what I have is I have a graphics tablet and all of these hotkeys are programmed into my sidebar. I know not everybody has that, so and that takes a little bit of effort to go into whatever tablet you have and go in and set up these hotkeys. But to me it's worth it. If not, you can just use your keyboard depending on whether your PC or Mac or whatever. These might change just a little bit from the command versus control, all that kinda stuff, right? For me, Command Z, undo down here is my number one. I mean, I even do it nowadays when I'm doing traditional art. Sometimes they'll be like tapping the side of my sketchbook or something. I get just the thumb and finger tap for control Z. It doesn't work, but it does work in Clip Studio Paint. Find out after a little bit of you working through as an artist, and find out which ones you use the most. And then when you do have them, when you do recognize that you're using certain amount of functions, either program them into your tablet or just memorize those those hotkeys. For me. One that I use a lot is I don't really do it for here. Like when I'm creating a new layer, I'll just pop over and create a new layer, right? Like that's, that's an easy one. I just come off to the sidebar and new layer, right? But one that goes that's a little bit harder, is getting into layer settings and then clipped to the layer below. This one takes a little bit more. It's what does that, that's Option Command G, right? And I don't remember that as I'm working, I don't remember all three hotkeys for some reason I can remember to like Command Z or whatever, but not Option Command G. So instead, I programmed this into my tablet, right? Because clipping two layers below is something I do pretty often. So guys, after your urine Clip Studio Paint for just a little bit, make sure you take the time to see if there's a way to save yourself a little bit of effort and use one or two hotkeys. That really will say to you that time. Okay, So nice quick unit for you here. We're going to talk about the navigation options in our workspace here, right? Basically, here's a preview of what's on my canvas. What we can do is we can zoom in, we can zoom out. We can fit it for the navigator. Or we can fit it within our bounds here, right? So this one is for the Navigator. This one's fit for the screen. We can come over here and rotate left. We can come over here, rotate right. We can reset it. So hold on, I'll rotate it and reset it. We can flip horizontal. We can flip vertical. Flip horizontal is really good for anybody who's drawing portraits, right? You know this. We can use this to zoom in and out. If we don't want to use these, we can use this to rotate if we want. Okay. So I can reset and reset. And that makes it easy. That is the Navigator Panel. Okay? Now, you know it. Now you can create your own workspace, something that works perfectly for you. Now listen, this is kind of a living thing. Like as you're working through your journey as an artist or whatever, you might require different things, different menu options, whatever it is. So you can adjust your workspace. Heck, you can make a few different workspaces, one for painting and one for illustration. As an example. I'd like you to take a screenshot of your workspace and send it to me. I want to see what you've got. 5. Tools Basics: Guys, In this unit we're going to go over the basics of tools. No, not hammers and stuff I got but almost Clip Studio Paint has a lot of tools at your disposal. There's so many at your disposal here that it can be overwhelming. So we're gonna take a big chunk of those and go through them and talk about what they all do. Why don't you join on it with me and we'll walk through it. Okay, guys, we're back and we've got another unit here for you talking about tools. Now this is a big one. Actually, it's so big, I'm gonna kinda divide it up into a few sections for us here. So bear with me and realize that this is really where Clip Studio Paint comes alive and where you can spend some time delving into these features and really enjoying them. So some of these tools are gonna be very familiar. You've seen them before and other programs, some of them might be new or at least a little tweaks on them, might be very new for you. So it's worth paying attention. Okay? So what I've done is kind of outlined by or set up my workspace here so that I can show this off to you. Come up and I've got my right hand side here on this panel. I've got my toolbar setup so that the first one is going to be my magnifying glass, my Zoom, right? With the Zoom, I can go in and out on the canvas. I can make the canvas whatever point I want to click on, zoom into it, or zoom out just by pushing and pulling. Now you can do the reverse of that. And this also works the same if you've only got a mouse scroll, but personally, I don't know, I don't know why they have it. Zoom in, zoom out. It's simple, right? This next one is going to be moving. So what this does is it moves everything on this one layer. I've got this brush stroke sitting on this one layer. And it's just going to move this entire thing versus moving the entire canvas. This is moving on the layer, for the most part. Moving, we can change it to patterns and grids. But for the most part, when it's moving whatever is on that layer, and instead moving the entire canvas with the big splayed hand, we can also do a rotate back and forth, right? I don't really love that one standard. Instead of this rotate, I like to come over on this side and use this canvas rotation. It seems to click better for me. It works how I wanted to. This middle one here, that's a total reset and this is a horizontal flip. Vertical flips. So when it comes to rotational things and tools, I really just keep this one on the hand and believed the rotate off to that my navigator window. But it's up to you. This one. When it comes to operations. I'm going to leave it for now. I'm going to leave it because this gets into a lot of art 3D stuff, right? And so we're gonna just kinda leave this for now and you will see how much more important it becomes in 3D layer. This is what I love. So I've got a lot of selection tools here. The first one that I use a lot is a lasso. So I could just come around, I can lasso this and I see my little marching ants and I've got just this selected. And I can, when you select a toolbar at the bottom, fills up and there's a lot of things you could do. Okay. We'll leave that for now and just de-select it. We can come into a rectangle. And of course, this is a pretty standard, right? We can use any lips, stretch it out, and that's my selection. And you can see also when we're choosing something like this, we could choose whether we start from the center that was clicked or start from the corner. So if I start from the center in this little box here, it expands outward. Okay, So when we're looking through these tools, you'd be surprised how many sub tools, tool properties are really coming into play, right? We go back to the lasso and we could see the anti-aliasing. That's like the jaggedness of the selection, right? How would I write on the pixel or whether it kinda blurs out a lot? The polyline is like a click and touch and select. That works especially if I'm trying to select straight edges. Like let's say I'm coloring a skyscraper or a bunch of skyscrapers, the skyline. While I might use this as a selection, right? A little trick I use with a lasso though, to do that same thing. Let's say here's a straight line. And then I want to curve will start here, do my curve and come up and let go. And it automatically does a straight line to connect to the starting point, right? So that's a good way to do that. If I want to draw this straight line here, I might come here and then. I go and get my streamline out of it. I can also use this pen tool. Let's say I bump this up and I want to, I want to select this section. And there we go. It just selected that for me. If I want to. Let's see, there's another thing that I want to show you here. Let's see, yeah, I select this and I want to add to it. All I have to do is press the shift. You see how this changes into a plus. Now I can add to that and started adding to my selection as I go through. Okay, so that's Shift. Holding the shift key will help you in your selection. There's one more thing that I think is important when it comes to selection is the magic wand. Magic Wand will select whatever you're touching on that is available. So let's see, let's see if I can explain this, this way. On this layer right now is this brushstroke, right? So if I click away from this brush stroke, It's going to click everything that is not the brushstroke. Let's see how that works. So I clicked outside of the brush stroke and it's selected everything on the outer edges of that brushstroke. So if I want to, I can maybe fill it with red and you can see how everything but that brushstroke was selected right? Now, what if I want to select the brush stroke? I can click inside of that. And now that brushstroke will be selected. And that meaning I want again, fill it in red, and now I just filled in that brushstroke in red. There's a few ways to do this, right? I don't really recommend this one to fill a brushstroke, but that's one way to do it. Okay? So let's say you've got a big block of something or whatever you want to fill it. Let's see if I could do that. Actually. I'm just going to make Don't mind me as a DV just for a quick second here. I'm just going to put a little block like this, right? This is a better way if I want to get in and I want to select everything around it, I can use this magic one and select everything around it. Or I can select just this, right? And then I can fill it with whatever color I could feel it. I can color inside of it, whatever it is. This magic wand is kinda awesome in this way. Another thing that I think it's really awesome in doing is, and I'm gonna do more of these blocks just so I can kinda show you what, uh, what, what's going on here with this, right? Normally, when we have this set, if I select this block, is just going to select this block. So I've got follow adjacent pixel. That means it will only go to what's touching this same black one. Just moved it off. Okay. So if e.g. I. Had this block attached to it, well, what would happen is I select it. And it selected that block to Ithaca because we've got this overlapping point where they're touching, right? Okay. Well what if I want to select everything on this layer, everything that's black, e.g. but I could do is unclick, follow adjacent pixel and hit that. And now it selected everything that's, that's of this same pattern. It selected all of that black square. Does that make sense? So if I just wanted to select one of these black squares, I'm going to say follow adjacent pixel and click on just that. It only select that one for me. But if I want to select all of them, I'm going to unfollow adjacent pixel and it will select them all for me. But here's a question. Why is it selecting these boxes and it's not selecting this brush? Honestly. It's a different color. It's really hard to tell, but this is black and this is an off black. What it's doing is it's selecting this black. I can show a little bit better if I do this in red and make a few boxes and red. Okay? So if I want to go in and select this black, it's going to select the black. But notice how it's not selecting the red. I can switch it up and select a red as not selecting the black, I could switch it up and select this off black, dark gray, and it's not selecting either of those. The Magic Wand can be adjusted to on the Color Margin, how sensitive it is for reading colors, right? Great, great tool. Okay, Next one is an eyedropper. What this does is it's basically a color picker. And I can pick it up from all layers that are showing, right, or just from the layer that I'm on, I'm on the layer that has red. So I'm gonna come over here or you know what? I've already got red down in my in my color wheel here. So instead I'm going to come to this gray. We can see how if I as per what we were just talking about. Here's black and this brushes gray. Do you see that difference? Watch it move down in the corner. It's black. Touch on the brush stroke. It's grid. And that's why our selection tool or magic one wouldn't pick it up as the same thing, even though to our eyes and looked a little similar. It is not. What if I even grabbed the background here? We can see remember when. Units ago we set this up. It was kind of an off-white, right? Okay, so that's our first bunch of tools here, from the magnifier to some moving tools, to some selection tools and a color picker tool. That is a great bunch of resources. We're going to skip this next grouping because they're all forms of brushes. And that's going to take a lot to get into. So we'll leave that for right now. We're going to jump onto this next section here. The first one we're gonna get into is ships because I've already kinda touched on this for you, right. So we'll get into it and see what's going on. Right now I've got a rectangle square selected. And maybe I'll pick a yellow here that we can work in. Change it to more of an orange. There we go. What this does is I can make rectangles. I can make it longer or shorter, whatever it is, whatever I need to do. There's my rectangles, right? I can make them this way. This way. If I hold down the Shift key, it makes it a perfect square. Nice little trick there, right? But as you can see right now, it's just a solid block, right? It's just a solid rectangle, square or whatever it is. If I want to change that, well, I can change it to just an outline. That's one of the sub tools, right? So I can change it to that and I can change the roundness of the corner of the outline. So if I want to have more of a beveled look, I can change the brush stroke of it. So it's a thicker one. I could change the opacity of it. So that's a little bit see-through. There's a lot of things that you can go in the tool properties. And of course, we can do the same thing with ellipses, polygons, all these you can kind of go through, right? This is a great thing to get used to in practice out doing these kind of practicing with lines and shapes. You can, like I said, you can even change the bevel, you can change the anti-alias and have it a lot crisper, have it a lot fuzzier. Let's see if that we're going to zoom in here and see if we could see the difference. There you go. See how that's a crisp, crisp line there. And then all anti-alias deltas, nice and smooth. It's smooth at this resolution as we're looking at it, right? But there's a lot more to it when we start to zoom in, right? Okay, so we've got a lot of things going on in the line. Tool, tools, in the shape tools and all those kind of stuff. Clip Studio Paint has this comic book framing. So you can do that kind of thing where you're only working on one. It's very interesting. I actually generally don't like it. I don't think it's the greatest tool in the world, but it's kind of cool. Like there's a lot of options that you could do with it. I want you to experiment with it. In this unit itself. There's so much homework that you could do to experiment using all of these tools, right? This one I think is really important. Jumping on from the direct object to the frame to the Ruler section, right? I think what we can do here is, I don't know, I think it's pretty cool. So we've got linear rule, rulers, curved rulers, figure rulers. And we can, basically, once you set that ruler down, you start to go over top of it and your line follows it. Okay? Once we get down into the special ruler, which I liked this parallel line ones, what we can do is set something like this. And that establishes a pattern of our brush stroke. So if we come back in a brush and let's see if I want to change the color up. That brushstroke will stay in that parallel line, it'll stay parallel to that ruler that we've set up. So even if I drag my brush this way, do you see it doesn't it doesn't want to move this way. Even if I'm driving it on an angle to still drive parallel to that one ruler. Very cool. I think what I'm gonna do is make sure I set up another unit here for you really explaining these rulers. There's this one, perspective rule. And this is where it gets really cool. So I want you to experiment with some of these, these different options in this tool set that you can add. A whole bunch of coolness going on here, right? You can experiment with scattered streams and different lines. All this kinda stuff. I think it's important to play with it. But I don't want you to get to twist it up over it. There's, there's ones that are really, really worth your time sinking into. I think for me one of the coolest ones would be this. So we can do scattered. Line like that, kind of like basically the birth defects and stuff, right? Let's see if I do another one here that you could do. Little star burst in this tool set right here. Just in these rulers. There's so much that can be done. And it's, it's pretty amazing, right? So there's a few units here. Like I said, I'm gonna get into the perspective one in its own unit just because it deserves that. But I want you to go through each of these different rulers, shapes, all of this and really play with it and see how does this work? Does it, does it bend? Does it shape? What does it do to achieve what you want it to? Okay, does it automatically fill something? Play around with this a little bit and see what shapes you can muster and why each ruler works a little way. And when you start to look at it, you're going to start to get an insight as like, oh, okay, I could see this is the curve. This is the automatic bend to it, right? You can adjust all of these things in the tool property. There's so much to get into here. There's so much to delve deep into for me, honestly. Really simply, I use it for my rectangle, for my shapes, my basic shapes. So if i'm, I'm doing basic shapes with it, all this kinda stuff, right? I use it for my streams and bursts and all that kind of stuff, right? I use it for a lot of that. But especially I use it for rulers. The special ruler with the parallel lines. And there's a few options here for curves and stuff. And then the prospective ruler that like I said, I'm gonna make an entire unit on what I told you that this unit has a lot to it. I'm not joking. There's so much in the tools that we've only gone not even halfway through these tools, right? So take a pause if you need to. Sometimes take a pause and experiment, right? Don't stress about how much information I'm giving you. There's just so much to be had here. So let's keep moving. Next one is the fill bucket. Fill bucket is, imagine if you're throwing a big splash of paint on something, right? You can just come on into a new layer and just dump a big Dumbo painting. Something. That's really that easy. The, sometimes if we want, Let's say I've got a shape and you're getting familiar with this now I can, I can come into my shapes. And let's say I've got this black square, right? Okay, so I've got a black square sitting in front of me and I want to fill bucket this, right? Well, I can fill around it or I can fill it. Cool. You will see that it's not quite perfect, right? It leaves just one pixel there. That is a choice for quality for you. Or what you can do is adjust the fill itself, right? So if I want to close the gap, maybe I adjusted to here. I didn't quite do it. Maybe I'm going to punch it all the way. That did a little bit better. Alright. I can scale the area a little bit. I can see if I zoom into it a little bit if that helps. One part is that this, this is why it keeps catching because it's not a hard line, right? So if I tried to fill it, there's going to be that little fuss because of how I created that shape. If I come over and create another shape right next to it. There we go. I turn down that anti-aliasing and put it right there, e.g. now let's say I want to fill bucket that it doesn't perfectly, right? So realize that with the anti-aliasing, sometimes your selection or your fill or something doesn't always do exactly what you want because of the fuzziness of it, right? Okay, so that's our fill bucket and we've got a lot of options here. We can adjust how much it fills the gap, how much it spreads into other areas and stuff. Sometimes it can be a little frustrating. So play with it, find where you like it to be. Okay. Next one is gradients. Gradients are almost like a fill bucket, but instead what they do is just splash on like a rainbow effect right? From you can change it if you want, whereas here's two colors. So if I want this color, right now it's black. I want to change it to red and it goes all the way to orange, right? And maybe I wanted a bit of a lighter orange so I can have that. And then to add this gradient, instead of just dropping it, it doesn't really work well, you gotta do is kinda spread it. Spread from the red to the orange covers at that away. Okay. Does that make sense? So what I'm doing is, Here's my base color. Right now I've got it set from foreground to background. So that means from this as the foreground to the background. And I've got to spread that away. Just going to back out just a little bit here. And you can see what I'm doing here. There is, if I want to, I can go from foreground to transparent and you could see how that changes it. My read is in the foreground here, right? And then it's gonna go from this color, red to nothing. So if I go like this, it'll go from red in this corner out to nothing. If I drag it even further, give a nice slow thing from red. Nothing. If I drag it off the screen, it'll go from red. But nothing is out here. And you can kind of fool around with this. You can go like a pinstripe thing. Here's a few options, but basically what you're gonna do in this gradient, easy to go foreground to transparent, or one color to the next, or pick a few colors. And you can get different effects, right? When you're feeling like this. There's a few different ways to fill. You can do what we've been doing here is this straight kind of from a to B and the blur that blend in between them, right? You can do it more of a radio where it goes from center and out. There's a few different ways to do this that might work for you. Okay? This is a great tool for a fast blend of colors. So let's say e.g. I've got my, my shape. What was it? I've got this rectangle, right? And I've got this city ear. And I'm like, I really want to blend it, but I'm not sure how. Well, using some of the tools that we've already done, we can come in here and I can select that, that nice square root, right? I'll come down here to my gradients. And I'm going to go foreground to background here. And I'm just going to kind of blend it across. And there we go. I can even go exactly from corner to corner, and it'll be the perfect blend from this color to that color. Okay, so that's the gradient tool works really well. Okay, next up is our lettering, our text tool. Basically what we do is choose a font. Choose the size of the font, and set it on the page, and then type something in there. Now, this bounding box is kinda the amount of space that, that is able to be in, right? And right now it's quite low, right? Maybe if I even Zoom and Derek, Cool. It's quite a small Hello. I can change the font size by selecting it and dragging it, right? I can change just one letter and change that. Hello. I can change, select it all and change the font. Right now it's literal magic, but maybe I want lower, right, or italic. There's a lot of things you could do. I can select it and then change the color. I can change whether it's bound to that side of the box and coming out, whether it's bound to the right side of the box are coming out toward centered, right? I could change the text direction. That's not in a lot of programs to be able to do it verdict or vertically as opposed to horizontal, right? There's a lot of things that can, you can adjust in this, right? And once you get into two properties, you can adjust even more. So let's say I want to jump into these tool properties. I still got that size that I can adjust. But now I've got a horizontal, stretch it horizontally. I have got a vertical that I can just stretch it vertically. I can space out the lettering a little bit. The workspace in the tool properties, especially if you're designing, let's say the title of your comic or something. You really have a lot that you can get into here. Lots to fool around with. I think there's lots of options here. And I think it's worth delving into spending time in your text tool. Work on it, play with it, get into the properties. And then once you start to certain, enjoy certain things like let's say you always have a certain thing, certain texts for dialogue, well, stick with it then. That's your dialogue and you'll have that as your default. Right? Next up is word balls. Now, obviously if I'm creating a word balloon, and this is what's kinda cool about Manga Studio and stuff, is that they do have word balloons. Most, most programs don't. So what I would do here is looking at this word balloon. This is not what I want. I don't want to word balloon with red and orange instead, what I would want us. Black and white, right? So I can drag this work balloon sent, right? That does not really fit this hello, something's wrong. Well, the first thing that I don't like is I put it off to the side here. So I've maybe I want to put it over by this hello here. So I kinda drag it into the spot that I like. Once I like it there, I click and it's good. But it's not good. There's some things I don't like about it. The the line is too thin for me. It's at a seven and this hello is much thicker. Usually you want this border to be somewhat close to the size of the the tax rate. So I'm gonna delete that. I'm going to come down to maybe a 20 and see if that works. That's a lot better looking, right? I might even bump it a little bit more and go 30. There we go. That's a good looking letter balloon right now, right? I think that looks great How it is. And of course, you can shift it, change it, move it around a little bit. The cool thing about when we're doing these balloons is that they stick to the text. That's alright. Clip Studio Paint. But balloons, if you want to move them around your sheet or something like that, will stick and drag the text with it. It's very, very cool. All right, let's see if we can adjust this just a little bit here. Okay, so within this rounded balloon though is we're adding balloon bubbles and stuff like that, right? You can change the shape a lot. You can have it looking a little bit more oval and stuff. You can have it more of a square looking. Let's see if I can change this a little bit here. You know, I can make it a little bit more square if I want. And this is really good for dialogue. Versus, you know, I actually prefer the rounded balloon this way that I can drag it out and make it a little bit more square, whatever shape really kinda matches what I'm going for, right? So this one here, this is my selection that I usually have. It can have it set to create a new layer when I add it in. Again, you can play with a lot of these settings, right? Cool. One is that you can also use a pen, blue pen. And let's say I actually use my pen. Draw in the balloon bubble that way. Now, the connection sometimes can be a little hanky up top right? But what you can do that for is something cool like that. That might be a way to add a cool little different stroke, different look to a lot of your, a lot of your dialogue. A lot of your word balloon impact. Now, one thing you'll notice here is like, I don't have the word balloon tails. There's a few ways to get away from that. You can kind of go like this and added in. So you can just use this balloon pen to just kinda added into the existing one. I like that because then you can get really funky with it. But if you're missing, if you're ever missing some sub tool, what you do is come here right beside the sub tool on a box here, add from default and scroll down and find that tool there. So here I'm going to be in the balloons and I'm going to come up my balloon tails right there. So I'm going to add it in. Now you can see I've got a balloon tail here, right? So if I want to, I can check the width of this balloon tail, maybe somewhere around 30. And I can drag it out like that, That's way too narrow. I'm going to bump it out even more. So then I can go like this, right? I can do a little polyline. Have it bent a few ways, right? Hit return, right? There's some experiments you can do with it. Bend it, and have it that away, right? Again, playing with the width just a little bit, Clicking for that point and then hitting Return and it bends into it. We're balloons are very cool option in Clip Studio Paint. They're not really in many of the other art programs, right? So this is where comic bookmaking really comes into it. You're going to have to play with it though, when you have a number of word balloons on any given layer, they can overlap each other. And that can look really cool. But you're going to want to set that in its order a little bit. Alright, so play with it around. See what works for you. This last one here in this section is for drawing vector lines and adjusting vector lines. I'm going to leave this for right now until we get into actual vector lines and vector layers and stuff. And so you understand the difference between a raster versus vector art. So we're going to leave that for right now. And we're gonna take a huge pause because this has turned out to be a really big unit. And we haven't even touched on these brushes yet. So what I'm gonna do is through these brushes into a separate unit so that you're able to digest it. But just to review, remember we covered this first section. This was a lot about selection tools and movement and all that. This second selection was an assortment of Phil tools, shape tools and text tools and word balloons, right? So this, this shape and we're balloon all kind of meshed into being able to do something like what we've got in front of us. There's a lot to digest in just this one unit. So we'll leave it at that. What I want you to do for your homework is to really get in this and play with each one of these. After you've watched one section, pause it, pause it, and delve into each one of those tools and play with it. Get into the sizing of it, play with some of the tool properties and see if that really changes anything. Because you can see when you get into it, when you get into each one of these tools, There's so much to adjust. It might be exactly the tool you're looking for for whatever job you got ahead of you guys. I hope this helped as just an introduction into tools. Tools. Wow, that's a lot, right? Like we didn't even cover the ball. And that's still so much and there's so much ability to customize and change things and adjust things. It takes a lot of time. So that's what I want you to do. Take some time, pick maybe three tools that you really found interesting and get in there and start to play with them and see what they do and adjust them and all that. It's important, It's important to be comfortable before we move on. 6. Tools Brushes: Okay guys, In this one we're going to tackle that other section of tools, that one that I kind of avoided, right? We're going to talk about brushes and that's why we're here. That's why so many of us are here in Clip Studio Paint is because we want to draw and paint and all that stuff. And brushes is where that is that. So I'm going to delve in deeper into brushes. And because even that small little section of brushes, it's going to take a bit of time. Okay guys, so tools, right? You would see how much depth there is just to this one subject alone. We're going to talk about the brushes. Like I've said, they are complicated, not complicated. There's just so much depth to them. That's the thing about Clip Studio Paint. There's depth everywhere, right? And every time you jump into something, it's like, holy cow, there's so much, so many layers going in here. That's awesome, but it can be overwhelming, right? So we're working on this middle section here regarding pens and pencils and brushes and all that kind of stuff, right? So I'm going to hover. I'm just gonna go quickly look over it. That's pen. Next one is a pencil. Next one is markers. Next one is kind of a pastel trucks, right? Next one has a bunch of brushes. We can see we've got watercolor, India ink, oil paints and a realistic one. Then we've got our airbrush and a subcategory of that is effects. You can see them all loading in here. We've got our erasers. We've got really weird effects, like even more so, right? We've got to Maple Leafs and some natural things. A lot of stuff that I never touched, but sometimes the patterns or the hatching. Once in a while they can do my thing where blending and copy stamp, which are very cool, then these extras that I just kinda added in, these are other categories that really are just imported extra brushes. I was too lazy to throw in my actual brushes. So ignore those. You'll find when you start downloading and adding. Sometimes you add to the right category and sometimes you don't. Actually speaking of that, when you download a brush or whether it's from the Internet or the Clip Studio Paint store. It doesn't tell you you have to put it in brushes. You could put it in pens, you can put it in pencil, you can put it wherever you want, right? So that's a little bit cream, but it can also be a little bit confusing. So let's start off at pens here. I've got a whole bunch, but usually they stay. They start out with Clip Studio Paint is maybe these first five to eight different ones from the G pen is the standard. And then let's see if I want to come down and I can adjust the brush size. I could do it in my tool property here and you can see it expanding on a screen. Or I can just come to my quick, quick adjustment right, AT pixels 40, pixels 30. And of course, the question always comes, well, what size should I be using? I don't know. It depends on how thick you want it on the paper, right? If this is a we've got 10 " by 10 " at 350 dpi, and we're using a 30 pixel pen right now. Well, this pen size will drastically change if the illustration, but the canvas size is different, right? So you've got to kind of play with him. It's not like it's a pencil sitting in your hand where you're like, okay, well, I've always got this size of sketchbooks, so I need this type of pencil lead or something like that. It doesn't work like that because you can change your canvas at will. If you're working on your canvas at home and you've got a sketch book and you're like, okay, I love this HB pencil that I get from Staples, whatever. Yeah. What if I all of a sudden tell you and say, Okay, well, draw my wall for me. Well, the HB pencil isn't gonna do that wall justice. You back away 30 ft, you're not going to see that pencil at all. So you'd have to change the size of your pencil, your brush. So think of that with your Canvas. Once you've, once you start playing with sizes of Canvas and the resolution of the canvas, you're going to have to adjust and play with the size of your pins. Okay? So you can see the real G pen is similar. Let's see if I pump it to around the same. The cool thing about it is it can be thick and thin. It can, you know, you can really play with the thickness and thinness and I'll show you how to do this later. Write calligraphy. Well, that's a little thymus. Let's bump it up and be consistent here. Oh, look at that. You see how that brush is more of a, a wide horizontal thing. So, you know, going this way, it's going this way. Is that correct? Getting really ugly on this layer, so I'll get rid of it. There's effect ones as well. Textured pens. Or I need to make a new layer here. That's why some of the, so what that does is it lays down thick and then tapers itself after the programming kicks and textured pens, we're going to jump up to that same thing. Basically it's the edging on it, right? And you can, I'll show you how to play with this all later. The main thing with pens, and this gets into all these other ones, is looking at the pin menu, selecting the pen that you want, selecting things within the sub tool properties. So the brush size is one selection. The opacity. That is basically, let's see if I can describe this to you. How much I was going to say how much link or ink rather, but that's more flow. This is about how see-through this pen strokes are gonna be. Okay. So you can see how I've got it at 55 now I can change it to 78. It's a little bit darker. If I bump it down to 33, It's quite light, right? Okay. This will change according to whatever one we're working on, right? So if I have this down here, you can see through it. Look, you could see, see the brushstroke through it, right? Okay. So then the anti-aliasing, we already talked about this a little bit, but I'm going to zoom in here because I think it's really important. When we talk about edTPA lesson. Let's go with something that's fully smoothed out. So we're going to grab a brush and just stroke. You can see that's a nice looking stroke, but you can see how it's a little fuzzy as we're looking at it, right? Whereas I'm gonna go to the other end of the spectrum here and do that same stroke. Look it up Jagger, that is. Now what does this do? Well, this does a few things. If we back out just a little bit, zoom out. This one with a high anti-aliasing, really looks smooth and natural and flowy. This other one looks really computer-generated. Okay? Now, it depends on the look you're going for. Do you want that jaggedness? Sometimes with pixel art, you might want this or whatever, right? But the key point that you're going to run into with this is once we start selecting, once we start trying to select things, one of these is going to be easier to select them. The other, this one is going to be exact. And this one's not. Okay. So when we're starting to color or edit or different things, keep in mind that anti-aliasing can really play into how our selection goes. Okay? Another one, Let's hit Back to here is the stabilization. So right now I've got a six that's been going down to zero and that's not bad, right? It seems to be an okay line. What if I bump it all the way up to 100? It almost like see how it slows down and it doesn't let me do hard lines. It's trying to stabilize my pen brush so that if I want to do something really smooth, it, it has an automatic stabilization. Whereas when I take that away, I might, it might not be a smooth, right? Especially when dealing with a mouse. Right now I'm using a graphics tablet and a pencil and stuff, right? But dealing with, with a mouse, you might like some of the stabilization or a line correction. It's often called, Alright, that's a great thing for me for illustration. If you've got a bit of a shaky hand, I'm a bit of a shaky sketcher and stuff. I'm sketching. That stabilization helps a lot. When we're looking at, here's the tool is pen. We've got a bunch of selections and you can download more. I'll teach you how to create more later too. We've got our tool properties and a lot of adjustments within that. Then we've got the brush size and even the color. I like to keep this all in one row for me. Works easy, right? Pencils are much the same. We've got pencil, darker pencil, lighter pencil. And what do they look like? Well, they look like a bit of a pencil. I can bump this brush size down a little bit. You have a pencil sketchy feeling to them right there. They're a little bit gray, a little bit grainy. And some people like that, look at that. It looks like you're sketching with the actual pencil texture. It looks like you're sketching on sketchbook paper. And you can see a lot of the, the sub tool properties are similar, but there's a few different ones. On this one we've got thickness and direction. We can play with this a little bit. Alright? It messes around not so much with this pencil, but I find with the wider brushes and everything, brush density, how much is coming out. Is it do I have to press hard, right? This is different than opacity and this is more of a brush density or sometimes you'll see it labeled as flow and we get into the other brushes and stuff. Is that almost imagine how hard you have to press on this pencil, whether it's a two-week or an HB or it's a softer pencil or something like that. If you bump up this brush density. If I bumped down it, I'm like, You should see how hard I'm pushing on my tablet. It's not going. There we go. Now I'm barely getting in there. There we go. All the way up to a really easy flow on this pencil that it comes up really easy. That's kind of a cool subcategory on pencils is being able to adjust the density, again, the stabilization. So you can see how a lot of this is repeating for the pens. For markers, very similar. We're not seeing much difference in this except for blending mode, which we will cover when we talk about layers. Instead of, you'll see this whole thing covered in layers, all these types of blending modes and stuff. I don't want to cover it twice. You don't need to cover twice. You'll see in layers, just remember when we're covering in layers, you'll be like, I can also do that with a brush maybe enough. So lots of different markers. Felt pen. It basically to me it's the taper. One of the biggest differences here is just that the taper of the pen. That's yeah, there's different flows that you can adjust. Similar to what we were talking about earlier, right? Moving on The pastels. Lot of the difference in pastels here, if we, especially we get into colors, is they're blending. How much density is coming out at one time? Isn't is it pouring out? Is it just kinda barely coming out? Is it a dense pastel or crayon in this case? Let's see the pastels. There's a pastel and you could see like, I have to push to get it to cover up what's below it and you can still see through it. So again, that's the density, right? Okay. Like I said, density, flow, pressure, these types of things are labeled a little bit different, but it basically means how much is coming out, how much of this chalk or pastel is easily coming out, right? When you have any type of pressure sensitive device, tablet or something, this becomes key. You can really make a lot of adjustments here. Getting into these guys oil paints. Again, we've got density of paint, amount of pain. So with paints we can really play this up, right? It's a little bit too big. But I can really play up how much is coming up. Density of paint. Like I have to go over it a few times. Amount of pain. Do I want just a little bit coming out? Right. You see how like as I layered on, it starts to, This is an oil paints. So it's got this kind of layering effect to it, right? If I go to watercolor, Let's see watercolor around a little bit here. It's very old Look at that. I love that effect, right? That is that watercolor effect. And of course you could change the brush density so it comes out a little bit easier and stuff, right? I don't know. I think I think it's pretty awesome. There's the color mixing as well, that you could blend a few colors here. Let's see if I wanted a little bit and see how these blended up, right? I'm not a big fan of the color mixing, but yeah, he grabs a lot of color and pulls it into it. That down then I'm going to turn off the color mixing to me, color mixing reminds me too much of oil paint, and it does, it takes away from the water. The watercolor vibe. Realistic ones, flat watercolor, these are some brushes I added afterwards a rough wash, textured wash, right? India ink. See how this looks. It's kinda got that outline effect. Not a huge fan for the darker bleed, but you can get it. And again, this is all just fun for you to play with. All these different brushes are just for you to goof around with air brushes. Next one, I think most people are understanding the airbrush. It's smooth. It's, it's the smooth brush, right? It's, you have to go over it many times. Maybe it builds on itself. It builds up, right? Depending on your brush density. You can really kind of add to it. Alright. Bigger brush. Here we go. I can really, what I do is I really turn down the brush density on this, right. And so it takes me a while to brush over something I could just takes me a while to build up on it. Remember we talked about the gradient tool before. Well, this is, this is a way that you can go from one color into another color or something. Alright, nice soft blend. You can use your airbrushing skills on it. Within this airbrushing though is another different type of brush that I think is really important, is like a spray or a tone scraping or something where you're dropping a lot of little droplets all over the place, right? You can do this just as it is. It has a very cool effect. Here's our running watercolor spray, yours tone scraping. There's a lot of different things you could do. Here is harsher droplets. You can do them. Let's see if we do that. Thickness and particle size bring that down so they're much smaller, right? Give that same little effect there. Okay. Wow, look at this. This is why we spent so much time on brushes just in and of itself, by itself, right? Because there are so many options to it, okay? I want you to play with all of these brushes, find out what works for you, what, what looks. He's saying. Some of them are kinda awesome and then some of them are really gaudy. Like do I really want to have that too? I really want to bring that into my art piece. But either way, it's good to know that it's there. Some of these are custom made brushes where you can save yourself drawing chains and stuff, right? I've used them before. They're pretty cool, right, for these patterns and everything. Moving on to erasers. I think this is pretty self explanatory. You know, we've got a hard eraser, soft eraser that's kinda like an airbrush. The hard one is hard. Rough has a bit of texture to it. Vector. Like I said, we're recovering that into vector layers. A kneaded eraser like you grew up with in school a little bit. It has a bit of texturing to that. But one key thing I really want you to know here. What I think is important is, let's say we're dealing with the G pen, right? I'm in the G pen and I'm using it. It's too big. I'm using it to draw. I can also use it to erase. The same G pen can be used to erase if I go down. So right now I'm drawing in black. And if you look way down at the bottom of the screen, I'm going to click Transparent. Now that means my G pen has become anybody, sir. It is now drawing in transparency. So to be honest, instead of going into eraser and limiting myself to the selection of erasers they have there. I sometimes do that right. But what I do is often when I'm working in a specific brush, watercolor or oil paint or whatever. Well, I might then erase in that brush. It just makes it easy for me. I can jump from color to the race, slash transparency and bounce back and forth, right? I can use that back-and-forth from color to transparency, color to transparency. Okay, With some of these, they don't erase really well as in they're not the greatest erasers in general. But some of them, yeah, most of them, I just find they work really well as an eraser. And it saves me having to jump around the tools. I just used that pen or that brush or a pencil or whatever as Anyway, sir. Okay. So moving on, after we did the all of these different erasers, we can move into different effects. There's a subcategory for effects. I already have effects up in the brushes here, right in my hair brushes, but there's even more effects. Honestly, some of these can be pretty cool, but some of them are really, really tacky, as I mentioned before. They can be like, not the prettiest things in the world. But you know what, maybe that adds to the illustration that you're working on, right? So it's good to just kinda roll through in there and say, oh, okay, I know that there's flowers and bushes and just kinda things here. I don't think I'm ever going to use them, but good to know that they are there. For whatever effect, maybe I want a circular quasi flame, right? Okay. Here's a big one for me. Blend and copies tap. Okay. So looking at the blend and copy stamp, what is blending? Blending, I'm going to use there's a few different ones. There's blend, There's a fingertip. Imagine when you're drawing in your sketch book. And you kinda, I remember learning to shade and smudging, smudging with my thumb. Or it's much with a bold up piece of paper or something like that, right? Well, this is that this is that smudge. You can use your fingertip here and I'm gonna make my fingertip little bit bigger and start to smudge. You can see how I'm just kinda dragging it across the screen, right? I'm dragging whatever is on this layer into this smudge. Sometimes it looks a little bit better. Like if I want a blending things and stuff, they can just smooth things out, right? Remember when we were doing all this patterning here, maybe I want to smooth out those patterns around the edges or something, right? I can learn, which gives a very similar effect. Rulers, sponges. There's a few different ones. I'm not a fan of that. This one does Japanese one that I got. Let's colors that you've got selected bleed into it. But watercolor, well, that's kinda cool. It's got that nice, gentle smudging effect, right? Okay, so blending, blending is very cool. It's something that you can use that I would say, keep that tool in your arsenal, right? This is valuable because you never know when you want to smudge something. Next up is coffee stamp. Okay, so coffee stamp is a little bit of a weird one. Basically what you do is you have your option and you see, okay, So here's my brush. My option all be like okay, I want to draw in this area. Alright, so I'm kinda clicking that little middle icon and saying that's where I'm gonna do. And I can come down here and I can draw that exact same area. So what I'm doing is I'm basically, and you can see as I'm doing this, you can see how this brush it down here is following a cursor that's back in that old area. You can see as a kind of coloring around. What this is, all this is doing is basically taking what was here and bringing it to a new area. So I assign it with Option and I can put it up there and I come down to another area and I start drawing it. Okay. And all it does is fill in exactly what's up here. It's weird. I get sometimes you want to totally replicate a pattern or you want to take the texture from somewhere and bring it somewhere else. That's where it's used for. How cool was that? Rushes in Clip Studio Paint gives so many options. There's so many things you could do with them. You can even import them now you can import Photoshop brushes and everything, right? You can bring whatever you want into brushes to create. Whatever you're trying to do. It's very cool. I want to see that you're familiar with the brushes that Clip Studio Paint has by default. And I want you to be comfortable before we move on. 7. Tools Creating Brushes: Okay, In this unit, we're going to talk about brushes again. But a little bit different. We're going to talk about creating brushes. We're going to learn how to make your own. Because even though Clip Studio Paint has the coolest brushes around, sometimes you need a very specific tool for a very specific job. And I'm going to teach you how to do it. Okay, so how do we create a brush? We can download them and other people can make this for us, right? But sometimes we want to do it ourselves, right? So what do I got here? I've got an airbrush. How does this airbrushed look for me? Like an M brush, right? The hardness is very low. Brush density is very low and have to work it for a while to really build it up and blend it, right? That is a typical air brush. Looks great. I love it. This is perfect, but that's not what I want. I want something different and I'm not sure what I'm going to go is soft here. That's the airbrush I'm on. I'm going to duplicate it and let's call it soft to for now. Okay. And do I want the airbrush icon? Yeah, I'll stick with it. It works. So I've now created another brush, and this is the one I'm working on. What I'm gonna do is all of this is the same thing as the soft airbrush. But I don't want all this. I want a different brush. So I'm going to start to come down and I'm going to edit my tool properties when it come down to this little wrench symbol and click on it. And now it's got my tool properties. Okay, So the brush sizes is the easy one. We already know that that's set that aside. The ink. We're okay with the opacity and stuff. But what I want to get into is maybe I'm going to start to harden this up a little bit. Maybe I'm going to start to change it to a bit of a spray. Right? I can change the brush tip, maybe have a little bit thicker. The density you can see the density is chick switching around the spray effect. Well, there we go. Now I can start to get into this, right? I can change the particle size. What does that? That's, that's the, the dots that I'm spraying out, right. I want it to be I want to do skin tone or something, right? So I want this small thing. I want them really spread out or do I want them really dense and clustered? Somewhere around there? The spray division, do I want it spreads so it comes from the center on out or do I wanted to kinda like almost like a borderline, right. Let's see if I can I don't know if I like that. I think something like that. It's more what I'm going for. Do I want the direction of particle? I don't think that really does anything, not for this brush. I can change it a little bit, but no, I'm not loving that. I don't think we need it. So honestly, this is what I wanted to do. I wanted to create this brush here so that I can add in some texture and onto skin. That could be, you can see how that might give the poor effect, right? I could change my stroke if I want. There's a lot of different things I can start to get into and stuff, right? Do I want the stroke continuous like this? Do I want just one dot? You can see how this is starting to change, right? Do I want double dots? How does this affect what I want? I don't want any texture. Not really. Like I can go into, into this texture store and get some more textures from Canvas, but that's not what I'm looking for. Well, honestly, I've already got the brush that I would want it, right. I'm just kinda fooling around here and saying, Do I want a bit of a watercolor border? Oh, you know what, that's kinda, it gives a different effect. That's not what I want, but wow, right? This gives an interesting effect. I don't want it. But the trick is look really cool. I'm gonna delete that, but that's what I want you to be able to do, is to get in and create your own brushes. So is this the brush that I want? Yeah, this is the brush that I want. I wanted that to kinda like I said, that skin tone texturing and stuff, right? So I'm going to save all this as my default. And there we go. I've now created a brush that is soft too. And I think it's awesome. But I don't like that name. I'm not a fan of that name. Right. So let's see. To change the name, what I would do is go to the settings of the sub tool, Soft two and I'm going to go Skin brush texture. And now I've created my own brush. And you can do, right, find a brush that you like, whether it's a pen or pencil, whatever, make some adjustments and then save it. But remember, what I would do first is make a copy of it and then work off of that copy. Because sometimes it's nice to have that original, but you don't want to lose it, right? Because once you save the settings that they're locked in as a new brush, right? So the processes coffee, adjust settings, tweak to your desired effect, and then save as a new brush. Here, I just taught you how to make a skin brush for texturing, for pores. And really the sky's the limit. You can share it, you can go download them and all that kind of stuff. That's cool. And literally app downloaded dozens. But I want you to be able to make your own. And that's what this unit was about. How fun with you guys and send me some brushes, maybe I want to use some of yours. Guys. How cool was that? I hope now you know how to create a brush. Actually, I'm not even going to hope that. I'm going to ask you to show me your brushes. I want you to create a brush. This is your assignment. I want you to create a brush in Clip Studio Paint and then send it to me. So you can send it a few ways. You can just export that brush and send it to me if you want. Or just brush it on a canvas and just say for Ed or something like that, right? I want to see your air brushes. I want to see your sparkles. I want to see textures, whatever it is that you created. I want to see that brush. That's your assignment. Send it to me. 8. Tools Rulers: Hey guys, In this unit we're going to talk about rulers. Like I said, Clip Studio Paint has so many tools, so many things that are options. And rulers is a big part of that. I love rulers not just for measuring things out and laying straight lines and all that. But Clip Studio Paint goes couple of steps further. Here. They add in perspective rulers, one-point, two-point, and three-point perspective. And if anybody's ever had to draw a cityscape background, you're going to know how much you wish. You had a tool like this. So why don't we jump in together and we're gonna get to the nitty-gritty of it. Okay, so let me show you why. Rulers are some of my favorites, especially in Clip Studio Paint. I know we touched on it, but we're going to get deeper into it. Looking at the rulers here. I showed you before how just a linear ruler. Rather. There we go. We can see how it can give us a nice pen stroke right? Now. What does that do for the average person? Not much, but let's say you're using a mouse or even you're going to jittery hand and you want to have that solid pen, right? Or that solid stroke that gives you that nice solid line wall. I just did it there and see if I zoom in a little bit. That's a nice pen stroke. You can still see the ruler there. So if I want to jump away and get rid of this ruler, delete the ruler and there's my nice cool pen stroke, right? Like it's kinda awesome looking. Okay. I can also get into concentric circles. Let's do this. I'm going to get rid of that layer just so I can be a little bit easier. Here's my circle. So I set this circle and I want to draw a perfect circle as well. I can draw a perfect circle. I can draw a little half circles and make it a kind of a Tron effect like this nice cool looking image. I can change my brush sizes and make that kinda cool looking. I like it. Okay? So playing around with rulers, finding a ruler that you think is, is really helpful to whatever image you want to do, right? Like, like I said, there's a lot of depth and the rulers here. Another one you can get into as a figure ruler. So let's say I want to do this rectangle, right? I said it, There's my ruler. What am I doing? Basically, I'm just giving myself a guide that if I want to, I can have this particular brush stroke perfectly set within this ruler. So why might I want to do this while you can see like maybe my, my tapers or my texture or whatever it is is set up perfectly to this rubric. Okay, So rulers are pretty cool. The shapes are pretty cool, but the coolest thing ever is perspective. And that's why I'm making the separate unit, not just to review rulers or anything, but to really teach IT perspective. Perspective rulers are the best in a new layer. What I want you to do is take go to Layer menu up top here, dropped down, ruler frame, and then Create Perspective ruler. This will actually, I can click it on and off toggle it for creating a new layer. When I create this or not, I just created a new layer. So I don't need to do that, but I'm gonna do it anyway. I'm going to have a toggled on. And I've got three options here. One-point, two-point, three-point. This is the easiest way to make her perspective ruler in Clip Studio Paint. There are other ways that all hint at later and show you a little bit. But this way, I think, is there's no reason to do it other than this, right? So I'm going to stop this again and remind you, go up to the top layer, go down to ruler frame, and then over to create perspective ruler. I'm going to click on one point and say, okay, well now I've got these weird lines going on here and I'm really zoomed in. I don't like that. So even if I back it out to here, Mike back in one more, one more. That work. Now I've got these weird lines everywhere and I'm like, Okay, what's happening here? I think what I can figure out is that this blue line, this blue line here is my horizon line. Okay? Anybody that knows perspective knows what a horizon line is. It's that kind of eye level, the viewer's eye level, right? Then I've got some center point here, this little cross, maybe just a little bit. I've got my center point here, point here, the little cross. And I've got some lines coming off of it. And I've also got. This vertical line, what's happening here? The blue line is my horizontal line. This cross is my vanishing point for one-point perspective. And then these lines coming off of them are just guides showing me that basically this is what would feed into the vanishing point. This vertical line is exactly that. It's my vertical and horizontal axis. So it will show me. Now this, let's see if this makes any sense. Once I start to draw. Here's a vertical line, right here is a horizontal line. So if I want to draw a horizontal line, I'll just bring my pen across this way and this is horizontal. If I want to go vertical, I tried to go angled. It will skew it some way. It will either go vertical or horizontal, right? Like it'll either, when you're in this ruler, ruler died, sorry. What it wants to do is it wants to keep you in one of three ways, heading towards your vanishing point. Vertical or horizontal. If you try to go anything other than these three ways, when you're guided by this ruler, it's not going to let you, it's snapping to this. Okay? So e.g. it brings me exactly to the vanishing point. Brings me exactly to the vanishing point. If I tried to veer off, let's see what happens. No, it chokes me back down into that. Alright, so once again, if I tried to go to the vanishing point, it will bring me exactly. But if I tried to go off, look at my my mouse, I went off. It didn't bring me in that direction. Right. Okay. So I've got this I've also it'll snap me to a vertical. And it'll snap me to a horizontal. You can see how I just created a building, right? My exercise for you on this, for one point is to draw some squares are basic shapes just all around the page. And get used to how that snaps, right? Grabbing from the corners. And this is just rough. I just want you to you can do a really nice if you want, but that's not what I want. I want you to draw these random squares, cubes, whatever rectangles. And then just practice on how that feels. Dragging them down to the vanishing line, to the vanishing point. There you go. If you want to contain the colors, maybe you want your construction lines to be green or something, right? Whatever it is. You've already learned brushes, so that's up to you. So what you're doing is then trying to build your blocks. And you see what I did there was I tried to drag it across, but instead I flubbed it and it went in a weird direction, right? Like sometimes it's even hard to recreate their eye. I was kinda going in-between the two snaps. Know what you gotta do is be very conscience conscious of your intent. So I'm going vertical, going horizontal, and I have to be very focused on that, right. Whenever you're using any type of snap grids or snap rulers or anything. Keep the hot key on hand for backspace, right? You can come up here and in the menu you can go edit, undo. On this Mac, it's Command Z, right? But whether you're on a Mac or whatever, I like to program it and that you have this command Z and you could just step back. And especially when it comes to Rulers, Grids, whatever, that snapping process. Sometimes due to something strange, then you don't want. Okay. So there's one point. We're going to do the same and we're going to come up again. We're gonna go to Layer, Ruler, frame, Create Perspective ruler, and go to point this time. There we go, edit. Actually I've got it so that it creates a new layer. And then this is where I want to show you the last time I didn't adjust anything on that one point. But on this two point, I want to show you how we're finally going to use this operations tool. The operations tool, as soon as I created it came up as my main option. Okay, that my selected tool. And we get to have this little 3D square root to help us remind us what's going on anywhere on this. But I'd like to click on a vanishing point. Click on the ruler. And now we're going to see a whole bunch of options going on. We've got our vanishing point Here are our center point here. But this is a two point perspective. So this just gives us r or access of vertical and horizontal. And what I can do with that as move it up and have my horizon line way up here. Or I can move my horizon line way down here. This starts to get a little confusing. I can tilt my horizon line if I want. But for right now, let's just keep it basic right in the middle here. Instead, adjust our two points. This is our vanishing point. I'm going to move one vanishing point way off the screen. And I might even zoom out a little bit. I'm going to move another vanishing point way off the screen. And this is something that people run into a lot. Especially when using 2.3 point perspective, is you want your vanishing points way off the paper, right? And so that's what we just did. We just moved them way off the paper. What that does is it seems to narrow everything, but it doesn't have to. This is just a guide. This is just to show us a little bit of where our lines might start to go, right? Where our lines start to move into this vanishing point. Okay? So now we've got our horizontal line, right, our horizon line, and our two vanishing points that are saying on it. That's our two-point perspective. What does this look like when we start to draw? Well, an easy one to do is just to draw a vertical line. Here's a vertical line, right? Let's say it's a building. And then how one of these corners is going off to this vanishing point. And it's also going off to this one. And maybe from the top here, see how it wanted snap to a different one, right? So I'm going to go Command Z and back that off. And be a little bit more full of intent in which direction I'm heading there, recall. And now I come down and draw the border of this building. Again with intent. Lot of backspace. I can make my cube. What I suggest you do is do the same thing, a little bit of an exercise just to get comfortable with this and that's snapping to the ruler, is draw a few lines around and just practice dragging them off. To that perspective. It's very annoying sometimes when it doesn't. That's one issue with Clip Studio Paint as it doesn't always dragged to the, to the direction you want it to. You think you're going there. You think you have intent. But sometimes it's just a little off, right? Not bad, but frustrating on occasion. So like I said, that's why I usually keep my hotkeys programmed, showing which direction I really want to go in. Or showing like my ability to bounce back and grab those directionals. The good and bad about perspective rulers, but look it out easy this is to really make two-point perspective. And the cool thing is that you've got this way off to the side. These they're way off the sheet. So it's no longer scrunched onto a piece of paper. Now if you want to edit, go back and edit. You click on the operations tool. Click on your, your vanishing points, and you could switch it around. Right? Now, e.g. I want to maybe bump these out even more. I teach drawing in perspective in another course. So this is not really a drawing in perspective course, but one thing you should realize when you are making things in perspective is that vanishing points can change even in the same piece. Okay? So don't think, well, that's weird. Why would I ever want to change my vanishing point? The truth is, they can change. They can change. You start to analyze photos and everything. You'll see that it's sometimes changes. There we go. I guess at it sometimes takes takes a few clicks to move it in that direction. You want it to move in, right? There we go. Now I've made this two-point perspective. Changing. The two points arrived. Okay, So once again, if I want to get in and edited my perspective, I just click on my operations tool and then click on the the rulers themselves and start jumping around. And another one that we can do is three point. So we've already done one, we've done two, we've done three. We're going to set up three points of perspective and oh, wow. Okay, what is 3.0? That means you've got it on your basic horizon line here. Like I said, we can think of it as a two point perspective. But you've also got one that fates fades off into the distance. So worm's eye view versus bird's-eye view, that type of thing, right? So we can have it way up here. We can drag it way down here, depending on whichever way we want, we can set up our third point of view or third vanishing point rather, any which way we want. Alright? So once we get into this, we'll notice that instead of being snapped to a vertical line, this looks like it is. And then if I was to draw from here, I'm kinda like right in the center of this piece. It looks like I'm doing a normal two-point perspective, but you'll notice as soon as I did that, well, now this building is tapered. It's taper down to the bottom here. If it's above the horizon line. Let's see, I'm going to back this way. If it's above the horizon line, you can't really tell, you know, it just looks kinda cool on this way that it tapers down that way, right? But if the building is below the horizon line, and this is where you really want to have it far away, like how those vanishing points far away, right? You can get some pre-core warped perspective on your buildings, right? Three point perspective. Very, very cool. Again, what I would do is maybe set a whole bunch of vertical lines, treat it like a two point and then just start practicing how that feels on the snap. Does it snap in the direction that you want? Does it go easily? What can I do with my mouse or with my cursor or whatever to make it do more of what I wanted to do, to make it more consistent, sometimes. Hear it. But for me I just think of intense like I'm like, Okay, I'm focused on looking at this and i'm, I'm trying to do exactly drag it over to that vanishing point. That often helps a lot. Okay, I'd like to just pop in here. In addition to the perspective rulers is adding grids into the mix. Now there are grids that just lay on top of your entire canvas. And there are grids that you can get to work within the perspective rulers that actually snap in. And I think this is really, really good to know. So once you have e.g. we've got this one-point perspective laid out here on this layer. What we're gonna do is be in our operations tool and object, and we're going to select that ruler. Once I select it, all of a sudden lots of different things popped up tariff They didn't you toggle it on and makes sure that the grid option is available here. What do you do? You can click on this grid, which is just a flat one. This one that goes off of that side perspective, and this one that goes off of the one-point perspective. Okay? So you can turn them all on at once if you'd like. Gets a little bit overwhelming, or just keep one on right now. And you can change the size of the grid. You can adjust the spacing of it a little bit sometimes, right? I really like that. So it does a horizontal grid and everything, right? You can choose whether you snap to it or not. Now, listen. If you're not snapping to this grid, you basically don't have a ruler anymore. I liked the grids that it helps you understand how things look within the perspective. But if you're really, if you're not comfortable using it, what I mean by that is like I can draw my my everything goes along this grid now, right? Like it all goes towards that one-point perspective without the grid or with the grid. But if I want to draw in-between the grid, it doesn't let me go to the perspective. It'll let me do that. My horizontal and vertical, right? So if I want to draw a box here, and it will let you draw along that grid line. But I can't draw in-between the grid layers like if I keep, you see how I'm trying to draw in-between this line here. It's not letting me. And that's why generally, I don t think the grid on for some people they like to have the grid there and you could just change the sizing of the grid. You can make it super, super small so that you get a lot of options in between lines and everything. For me. I don't love it there. For that reason that I can't draw in-between it. Okay. One thing that you might want to use grids for it though, is when trying to lay down shapes. So now that I've got this grid laid in here, what I would do is maybe come to shapes. Choose maybe a rectangle. And you can see if I'm starting to, starting on this grid. It's asking you see how it wants to stick to the grid at either wants to stick vertically going back to the horizon line, or it wants to stick onto the floor. There's a lot of experimenting that you have to do here. But once I've gotten stuck to the floor, now, I could use that as my base. I can draw a second one here, and it goes back to the horizon line. I can draw another one here, and it goes back to the horizon line. And you can kinda construct things using just shapes. I prefer to use a brush. But that's just me. Do you I mean, like for me the brush is a lot easier to deal with. I'm comfortable drawing my own shapes and perspective. But for other people they might like it using something like this. And I could see why there is a certain appeal to being able to lay down shapes in a grid. Guys, all of these are just tools in your tool belt. Literally, these are the Clip Studio Paint tools. Whether you want to use the grid or not is up to you. But now you know it's there. Whether you want to use perspective rulers or not. Again, that's up to you. You can hand and outliner a perspective grid or anything, right? But boy, are these ever cool? Okay, That was pretty cool, right? Like Listen, drawing tons and tons of backgrounds. And most people don't have fun with that. It can be very, very tedious. But if you have the right tool for it, it makes it just that little bit easier. Sure, it takes a little bit to get that snap working correctly and stuff. But once you got that flowed down, once you get into a rhythm with it, boy, you're gonna make the coolest cityscapes ever. I want to see it. No, you don't have to draw me an entire city. That's fine. You can if you want, I'm drawing some cool ones. But what I really want to see is like e.g. use the prospective tool to make me a couple of cubes, whether it's 1.2 point, whatever it is. I want you to send some 3D drawn using this perspective rulers cubes and send them my way. 9. Tools Transform: Guys, In this unit we're going to talk about the transformation tools. There is a few different ones and some new ones like Clip Studio Paint just added. And I'm loving it, right? So we're gonna look at how we can take a 2D image, a flat image, and push and pull to transform it the way we want. So looking at our little logos and everything for our different companies here, I want to try to mess around with them a little bit. I've done the coloring over them and did all that kind of stuff, right? But what I want to do is transform them. So I'm gonna take, I'm on my Clip Studio Paint logo layer here, right? So what I do is come up to Edit, transform. And I can see a bunch of different options here. Scale up, scale down and rotate, scale and rotate. Well, I'm guessing we can kinda understand what this scale is going to be. Just keeping the same dimensions, same proportions. Just doing the size gonna hit okay there. I'm going to come back, Edit, Transform, Rotate. Well, instead of coming in or out, what this does is it only allows me to spin it. In a little hint, if you hit the Shift button, it will lock you to say, let's see, I'm trying to find that flat, that perfectly aligned flat. It'll lock me into it. Okay. So that's my rotate. I think you guys can understand this is going to come down transform, free transform. Well, what does this do? It means each one of these points can do something, right? So if I move this point on the corner, if I move this one here, I can make it vertical versus horizontal. I can shift it this way. I can pin this corner in and start to look like I'm almost going to flip it. That's kind of a cool effect there. I can stretch it out. So it's, it's really kinda looks like it's on this other plane here. Flatten it out this way. There's a lot of things with this free transform that work really well. And so you can use it as a bit of a perspective tool if you want. You can get pretty warped. But I think it's awesome. I'm going to cancel this because I'm coming back that Transform going to drop down and go to Distort. If you thought that other one was distorting, wait until you see this one. This one will snap you, right? So it's going to snap you just certain, certain planes. You can kinda come in here and move this around a little bit. This is really good for when you're playing with text. So you can kind of bend your text around and give it some special effect. Next one up is skew. Let's see what this does. All it does is kinda angle it. And I can bump it up if I want. But I can keep it on this plane. And all it is is kinda like shifting those angles. Excuse it. These words are pretty self-explanatory, but I like to help perspective. Look at that. Right? Think of how cool this would be to throw it on a grid here or something like that. And then you can warp it to perspective and look how it keeps that. The proportions in line there, right? Bring it closer to you. That is very cool. If you've got grids laid out or let's say you've already drawn a building and perspective. You grabbed this, throw it in, and you can use that tool there. Alright. Okay. Flip Horizontal seems pretty self-explanatory. Edit, Transform, Flip Vertical. I'm also guessing. You can guess, right? You know, like you can do that here if you're just wanting to draw on it, is you could do a flip horizontal. Flip vertical for just drawing on the canvas. Okay. This doesn't change the image itself, the layers or anything like that. This is just for working on the Canvas. These little options off to the side here. Flip horizontal, flip vertical. You can also rotate your canvas this way. And then reset it with this one here. Now, these aren't necessarily transform tools off to this side here. These are more in your navigation, but I'd like to throw them in here just because sometimes we're people think they want to transform something, whereas if they just want to work on it in a different way, right? So transform actually manipulates what's on the screen here. This is just shifting the screen to make it easier on you. And you can use this sometimes to navigate within there. Okay, so one more transform, mesh transformation. And what does this do? It gives us a whole bunch of points of manipulation. I can just move this corner and this corner, and this corner and this corner in. And maybe if I know I'm going to give that center, I'm going to kinda bunch this and make this symbol a little bit smaller. Okay. That is ugly. But it did exactly what I wanted it to do. Moved all of these little points around and made it weird, right? So to review, you come up to Edit, Transform, and then you can play with all of these different things depending on what your needs are. It's just a quick and easy manipulation of whatever is on this layer. Remember, it doesn't transform your entire document, doesn't change the canvas or anything like that. All it's doing is squishing, manipulating, movement, whatever it is, what is on this layer. You've seen me play with it with the Clip Studio Paint logo here. You guys can play with whatever you want to transform, whatever you want. Just have fun with it. Okay, staying updated on some of the transformation options here. I wanted to give you guys a little bit more, especially because some cool things came out with a new update. Let's say I want to transform this piece, something on this piece I'm going to take my lasso tool and maybe grab fanno says arm here. And this is obviously not going to work exactly how I want it to, but I think you'll understand what's going on. So I'm going to select this arm, right? And what if I wanted to change it in some way? Well, there's a few ways I can do it, right? We've already talked about a lot of ways of transforming things. I can come up to Edit, Transform, Rotate. And so when it comes to this, you know, like I can just go like this. Right? Okay. What I'm going to cancel that. I'm going to go back and I'm going to show you something in different transform and rotate and see this little cross in the middle here. That's annoying little thing that sometimes you end up catching is you're trying to drag this transformations and whorls. What's a pivot point? So if I'm rotating, I'm going to rotate around that. Right. But what if I want to move it into whether his shoulder is and so maybe I want to pivot his arm where that shoulder is. How cool is that, right? So that's a nice little trick there that you can use that center point as a transformation one. Okay? Another one is using a mesh transformation. We already talked about it, but there's something more you can do when you bring the mesh into this hot, hot bar that I like. Some transformation settings pop-up off to the side. This is our normal mesh and this is the transformation settings. So if I want to, instead of having these particular points of transformation on my mesh, I can increase them. I can throw a whole bunch in here so I can just nudge small little spaces on it. Okay. Now how do I get that? How do I get them in here? Well, all I do is click on this one, selection launcher settings. And I can go in and add it through edit and then transform and that type of way. Ok, so there's a lot of things that you can use this hot bar for. Whether it's, I almost think of it as like my selection manipulation tool type of thing. That's why I love this one So, so much. Okay. Another thing that's very new with this update is the Liquify tool. So there's a few things we could do here. You can see them pop up here off to the side. This is a push. This is expand, pinch, push, left, push right. This one's gonna be a twirl, twirl anticlockwise. So let's say I want to push and I want to expand my brush a little bit because I don't want social small. I can just push that away, right? Not that I loved that, but I could expand it. I can shrink it. Right? Give them like Spaghetti arms. I can push in certain directions. Right. And pulling the other directions. I don't want necessarily loved that one. Honestly, I would just use my, my, my push one here. But this twist one is also pretty good. Look at how cool that was. What if I just was something here that I didn't like? And all I did was rotate it just a little bit, achieve exactly what I want, right? Okay, so that's the liquefied tool. It can get really funky and really ugly or just some people use it, I guess. Maybe a smaller brush and just cinching in the waste a little bit. So Thanos has been dieting, right? This update helps you guys. Okay, How cool was that? We now know how to transform images and stuff. We know how to add different points of reference and even how to add the Liquefy. Now, how to add that swirl, how to add the fish bowl fact, there's lots of things that we can use here and that's what it's all about. And Clip Studio Paint, having all these tools in our tool belt so that we can use it when we need it. 10. Tools Manga!: Guys, at its root, Clip Studio Paint is Manga Studio. That manga, that Asian style of comic bookmaking really shines through with a lot of the tools that Clip Studio Paint has. I want you to take some time and watch this next unit and see if any of these tools appeal to you. Clip Studio Paint at its origins was about creating manga comics. Like it's a Japanese program. And so it's got a lot of pretty cool little features to it. I've shown you tons when it comes to designing a comic book. And even the options from going left to right because of Japanese style of reading or not and stuff like that, right. But here's a couple that I thought needed to be put off to the side. So let's say I'm coloring this comic book, or let's say I want to keep it in black and white, but I still want to add a bit of tonal value to it. One way to do that would be using my select tool here. I'm just going to use my little wand and maybe select where his hair might go and cast a shadow. Then I'm gonna come over here on this select menu option. And it's going to say new tone. I'm going to click on it. And you can see that I've got circles right now and a little bit of a pattern. I can change the density and have them really thick and kinda almost like the opposite. It goes to my white is the minority. And then it goes all the way to just small dots, right? So I can click on it somewhere around 19. Maybe. I could change the frequency and have them really small dots. I can have them really large dots. It depends what I want, right? But this is the old way of shading. In comic books. We used to have to cut out sheets of zip tone and stuff and then lay them on prior to print it. It does add like I could do Spades, you can't see them at this size or whatever, right? But spades, squares, whatever it was, I guess I can increase it a little bit. And so you can see that the sizing here or increase it just so you can see what I'm talking about here. Change it to hearts, change it to flowers or stars or something, right? Generally speaking, I stick with circles and I don't like them really visible. And we can change the angle if we want. We can turn it a little bit. Something like that. So mess around here. Let's see what it actually looks like. Oh, okay, that's cool. I don't know if that's what I wanted. It almost gives it an illusion of like a mesh, right? And I don't think I'd want that much of a mesh. So I might back it out from 70, maybe have it somewhere around there and see if I can decrease the density. Let's see if that'll do what I want. There you go. That's more of the tone that I want right now. If I wanted to, I could come over into layer and just kinda faded back in the density, right? I can, depending on how strong I wanted or how faded I wanted. You can see how you can achieve a nice shading effect using tones or the old term zip pills. Okay? Another thing that you could do is over in your figure sub tool where we talk about lines and directions and depends where it's set in your system and rulers and all that. We have these saturated lines. Now what is this? What does this look like? Well, I'm just gonna kinda draw on here just to do a quick look and you'll see, here's a circle. I'm gonna release. And there we go. It's all white. It's a bunch of, you know, impact lines, right? It's white because my selection tool was on white. So let's see if I back that out. I'm going to select black and see if this does it. So I'm going to select it around her head, would have a halo and put it that way, right. So what does it do? It centers around the head there and it shoots out from that one center point that I dragged it from all the way out. Right? And I can make it a little bit tighter. You can see it's fewer lines. The more bring it out. You can see how that gives me a little bit of space around that head, right? Bring it out even more. And have command. And I can kinda just shifted around a little bit. And it'll shifted even more. So if I hold down your Command or Control, you can do some adjustments on the fly once you've already said it. Right? Okay. I'm going to back that up. Okay. So that's, they call it brightness. I'm not exactly sure why they call that brightness, but there's a whole bunch of different ones that you can do. This is a saturated line. It's the thickness of the lines that they're basically showing us different different options here. This one, I can bend it around and select that away. So it gives me a chance. With the curve. To be able to wrap it around something. Maybe if I want. This other one's a bit of a burst, a burst outward. Instead, write the other ones were all pointed inward. This one's coming from the inside and bursting out. Okay? So there's a lot of pretty cool things you can do with that. You can also come into the stream one and do it this way and have it like kind of just horizontal lines, okay. Okay. You could have it looping around a little bit and it shows it encompasses that area. You can do all the way into the ring effect if you really want. Let's see if I move it around. You can see how it just sporadic little lines actually what I want to get rid of, this one, I don't need that right now. Glue. You could see how that might be. Almost reminds me of the matrix kinda coming down in there. But it gives that effect, right? I do like goofing around with this, playing around with it, and then just seeing what I can come up with, right? Like just seeing what's going on with it. Seeing the impact that I want it to be. Okay. They're not always exactly how I want them. Little strain sometimes. But I find that the experimenting with it. Let's see if I drag that out there. There we go. We can change the angle of it. Now. You can have these speed lines to an extent, right? So what I'm doing right now is holding down my control and adjusting on this pivot. See if I adjust that. Well, this would be the frequency of the lines and spins it all the way around. Alright, closer in, more lines. There we go. Tons of options. Here has guy, There's tons of options to do with these different saturated they call them saturated lines and I don't know why they call them that, but I call them affect lines. With these effect lines, you can really make certain line work punch. This is the easy way instead of hand drawing each of them in. Let's see if I handwriting these bursts or whatever, right? This takes a long time and it takes a while to get it right. Use the Mongo tools here and enjoy what Clip Studio Paint has to offer. So what do you think? Pretty cool stuff, right? There's a lot of things in Clip Studio Paint where the tool is just kinda push beyond some of these other illustration programs. I want you to have fun with us. In fact, what I would really like you to do is make a little bit of a sheet, play with some of these manga tools and send them my way just so I know you're familiar with this unit. 11. Layers Basics: Guys, In this unit, we're going to talk about layers. Layers are a funny thing. Like growing up in the 80s, I was a big fan of animations and seeing Disney and everything. And so I understood animation cells and layers, right? I also was in school when we had overhead projectors and the teacher would lay a transparency on that. So I understood layers really easily. Some of the younger generation, though, they're not as familiar with those older technologies. Layers are now built into our programs. So I want you to take some time here and really pay attention so that you can get a good concept of what layers are all about. So when we're looking at understanding layers, I think for me the easiest way is to reference animation cells. You can see here how there's different layers, different cells, they're imposing on one another. This was done back in the days to give depth to animation and also to be able to move characters. Let's see if this one explains a little bit better. Okay, We can see how there's multiple layers to this one, maybe background piece or something. Maybe they would have the animated character standing in front. So thinking of Clip, Studio Paint or Photoshop or whatever app you're using. When we have these layers, you can imagine it kinda laid out like this. That if this one's in the front here, I'm sorry, I'm moving it around. Then that means it blocks out what's behind. This one, blocks out what's behind that? And this one blocks out what's behind that. And the last one is probably something flat or some matte painting or whatever like this flat painting. So you can see here, I show on this layer that I'm playing with here. It's got all of this kind of gray in the background. Really like if you've never heard of animation cells, this can be a weird concept for you, but if you've ever seen animation cells or in high school, maybe an overhead projector. They would use transparency and then the teacher can layer on those things. I'm going to play with it on this particular file and show you. So off to the side here I've got a few different layers here. A Clip Studio Paint logo, a sketchbook logo, and a Photoshop logo. So if I grab the Photoshop one, I can move it around. If I grab the sketchbook one, I can move it around. If I grabbed the Clip Studio Paint one, I can move it around. They all look like they're side-by-side or just sitting here like they're all just sitting on this piece of paper in front of you, but that's not true. The Clip Studio Paint one is, this layer is on the top. So that means it sits on top of these. If I was to move this layer to the bottom, it now sits underneath them. All right. So what I can do is I can put this one here and then hide the Photoshop layer under that and hide the sketch layer onto that. And they're all hidden. They're all there. They're hiding behind my Clip Studio Paint one. Okay. So really this then I can what I can do is kinda alternate it and put this under and put this under here or something. Put the Photoshop one on top, even though it's the ugliest. And start moving them around a little bit right? Then I can grab them and move them back. You guys will recognize that we're using this kind of move tool that we learned about earlier. So I'm just grabbing these all around and moving them back to their original order. What do you think? Does this make sense? What I want you to do is play with these layers and just kinda move things around on them and even see e.g. let's say I fill this layer. So I'm going to select, I'm going to grab a selection and select all. I've selected this entire layer now and I'm going to fill, I'm going to fill it with this color that I've got selected, de-selecting now. And you can see I just blanked out. This entire page is like, Oh my God, It's like I spilled ink on it. No, it's not. I just spilled ink, gray ink on this one particular layer. And I can move that layer around. I can move it to half of the paper if I want or something like that. Right. But basically all I did was spill ink per se on this one layer and this layer can be thrown off to the side, it can be brought back and I can do whatever I want with it. I can then move if I want this layer underneath them all. And now I've got a gray background, right? I can kinda let it up a little bit better than this. Shimming it on over. There we go. Perfect. Okay. So I've got this gray background, even though it looks ugly, don't want it, but I can do things like that, right? Somebody else, I'm going to advise you when it comes to a basic thing for layers is naming them. Ugly gray. There we go. So we've got an ugly gray layer that I hate going to turn it off. This is the paper on the bottom here. Then I've got the Photoshop logo, sketchbook logo, and Clip Studio Paint logo. Here's the basics of understanding movement of layers and stacking of layers. I want you to play with a little bit and get comfortable with it. Because believe me, if you're not comfortable with layers, you're not comfortable with any of these graphic programs going forward. I'm going to teach you one extra thing in this unit though. We're going to come up to the Clip Studio Paint one. Okay, so I've got this up here. I'm going to create a new layer. So I can do that up here. I can go layer, new raster layer or new layer. And I didn't give me some options that I'm going to explain a little bit later. But or what I can do is just in my layers kinda tool thing here, come over here to this blank one and just pop in a new one. Okay? So what I'm gonna do with this new one here, interesting. I'm going to label it clip. Not because it's Clip Studio Paint, but because I'm going to do something special to it, I've got this layer sitting on top of my Clip Studio Paint Layer, right? And so what I'm gonna do is I'm going to go like this. So that's a double-click. Right-click depending on whether you're using a mouse or whatever it is. So I'm going to come down here to layer settings, partway down and clipped to the layer below. So again, right-click or whatever it is on your computer, go down to layer settings and clip to layer below. And that's why I called it, right? So what does this do? Why did I just clip this to the layer below? What I'm going to show you. I'm going to grab a pen here. Make it pretty big. That's not very big. There we go. That's a pen. You can see it on the screen here. This is what it would look like and I'm gonna do a pen stroke. There we go. Nothing strange, but watch me do a pen stroke. That's not on top of this clip Clip Studio Paint, logo. Nothing. What if I do it half on, half off. There we go. So what this is doing, and remember when we come back to this is it's letting me draw just on this one layer. I've clipped it too, just so it's gonna be on this layer, but it wouldn't spill off of this. So if this is my logo, e.g. there's nothing else in the rest of this panel. So if I want to draw just on this logo or just on, rather just on the logo or just on this one section. What I can do is clip a layer especially to it. And it'll allow me just to color in or draw on top of that. So again, if we look, this logo itself is, it's a logo here, right? But in this other space, there's absolutely nothing there. We can see that in this small little preview here, we can see this kinda like a checkerboard pattern of gray and white that shows transparency. If we go down here to the ugly, the ugly gray one, right? I kinda move it over to half. For an example. We can see how in this small preview, half is gray and half is transparent. That transparent is important in many ways. It's not important if you're just kinda painting on a flat layer or anything like that, that's not what's, what's important here. But when it becomes important is when we're doing this clipping mask. Once again, I've got this Clip Studio Paint and logo and with a transparent background and look as I move it on to where I drew before. Pretty cool, right? This gets very, very cool if I just want to color on this section or throw some effect on this section. E.g. remember we talked about gradients previously and stuff I got, maybe I want to throw a gradient in here. Where zone? Give me a good color here. There we go. I want to throw a gradient effect onto, onto this logo, right? Well there we go. How cool was that? It doesn't go anywhere else. It just goes on this particular layer and you can see the layer is full. But because it's clipped onto the logo, that means that I'm only going to see it on top of this logo. And if I ever want to see what something looks like without that layer, click, click the little eyeball, toggle it off, and now it's gone. It's still there, the layer is still there obviously, right? But it's not visible anymore on my screen. Back on, toggle it off. And you can see that's what I've been doing on and off with the ugly ugly gray, right? Sometimes I like it. Sometimes I don't. Most of them I don't because it's my ugly gray. Okay, guys. Hopefully this gives you something to play with, right? Understanding how these layers, all of these layers stack on top of one another. Then once we understand that, I gave you that little trick of how to clip something, it only attaches to one little layer, okay? Now you know, right now you understand what layers are. You can understand how they go on top of each other and you can see through some of them, right? And why? I want you to take some time here just to play with that layer little window there and kinda move layers on top of each other, maybe drawn one, drawn another and move them over top of each other and just see how they impact each other. What covers what, right? Once you get really familiar with layers, move on to the next. 12. Layers Modifiers: Guys, In this unit, we're going to talk about layer modifiers. There's modifier modes within a lot of different graphics programs. And Clip Studio Paint has some really cool ones. It can be a little bit intimidating. And even a little strange, strange, strange to have all of a sudden the line outlines or different colors or whatever it is. But it can also be very cool. So let's learn it and have it as a tool at our disposal. Okay guys, this is going to be a weird one. These are Layer modifier options and they're, they're very hard to explain, but they are reasonable to show you. I've got a picture of cowboys bond that I colored for a friend in front of us so that we can kind of play with it and see what's going on with some of these layers and everything. And the only way to do it is to get into it. So I'm just going to make a copy of this layer. And by doing that, what I can do is just grab this layer and drag it into that new layer and it will make a copy. So there's a quick shortcut for you. Alright, nice little tip. Okay, So what I'm talking about layer modifiers. What I'm talking about is this menu that's right above the layers. The blending mode, the blending modifier mode. Right now it's set at normal. If I drop it down, you can see a huge list and I'm going to read them now, once for you and not read them all again. Normal, darken, multiply, color, burn, linear burn, subtract, lightened screen, color, dodge, glow, dodge, add, add glow, overlay. Soft light, hard light difference, vivid Light, Linear Light, Pin Light, Hard Mix, exclusion. Darker color, lighter colored, divide, hue, saturation, color and brightness. Okay, so what are all of these things and why am I spending time on them? Well, because they can really do something cool sometimes. First thing we're going to get into is this first grouping here. Darken, multiply color, burn, linear burn, burn. You might have heard burn-in dodge. These four, do something interesting. So right now if I go multiply on this, it just going to make everything dark. And you can see if I go dark and that's kinda the easy way to think of it as darken, multiply, color burn, and Linear Burn. Okay, so what does this do? Well, I'm going to turn it back to normal and I'm going to create a new layer above it. And on that new layer above it, I'm going to color something and nothing amazing, believe me, I'm going to have a white or a black selection and a white selection and my markers here. So what I'm gonna do is take this marker kinda big. And just right now I'm going to color black right here. Okay. So a big black splotch and a big white splotch. And you know what, why don't I go somewhere in the middle and do a a gray splotch here. Just so we've got these black, white, and gray splotches right now. What is this and what's this going to do? Well, you're going to see that when I change this normal layer and you can see it up top here, it says normal. I'm gonna change it to multiply. That was interesting. Let's go back to normal. I've got a white, gray and black, and I change it to Multiply. Now what did that just do? A black state, right? I can see the black in full force. The gray give me a 50% opacity here, and the white totally disappeared. So when we're dealing with multiply, darken, color burn or linear burn, we're realizing that white is totally transparent, totally see-through. Anything other than white in the tonal spectrum from light gray, e.g. what if I want to, I can kinda mix this around and do kind of a, a lighter gray here just so you can see what's going on here. And a bit of a darker gray here, right? Anything in this spectrum starts to add varying levels of opacity. Or what I use it for is shading, cell shading, coloring on characters like you can see in here. The black will stay through though and stayed true, right? 100% black is going to stay true on Multiply. But anything other than 100% black on Multiply or on Color Burn or Linear Burn. Well, you get to play with the shading. Okay, that's interesting. So basically what I do is I use darken, multiply color burn or Linear Burn. It's a bit of a shading resource. The color burn and Linear Burn do something different than Multiply. You can see it's kinda, it uses the color underneath it. In my cowboy color, my cowboy spawn is showing through and it's almost looks like it's a hard hard burned to it. Right? It's got that hard lighting effect to it. So color burn and then linear burn is also using that. What you can do on some of this too. And I'm just going to start playing around and just have these colors off to the side. Just so we can see what's happening here. I'll throw a red down here. Through a green here, through a blue over here. Maybe a lighter, darker blue, sorry. Maybe a bit of a purple, pink, lightened up, darken it up, and just have this palette down here so we can see how it's starting to look on this. I'm going to grab again and go to multiply. Cool. How cool is that, that multiply layer, that potentially that layer that I use for shading, I can use colors for shading to read, adds a nice red to it, right? And so let me go back to red here. I'm gonna go really dark like a maroon. Put it above. You can see how how bloody that looks at how a pink barely registers. Because why does that pink barely register? Well, it's close to white. And the closer I go to white. Bless I'm going to see in multiply. Now this is where it gets really funky though. Color Burn. Look at how all this reacted. I've got my gray tonal spectrum up here, right? And it's behaving how we've seen it before. But these colors are all reacting really strange in this color burn because this color is burned. Like I said, I just use a report. You can think of it like a horse digital burn on the layer below. And so it's playing really different there. We can go to linear burn and it changes it even more. I like Color Burn and gives a harsh, harsh effect, but it can be overused. So I've been playing around with this. Maybe I'll add in a light green here just so we can see it for effect. And now, after using darken, multiply, color burn and Linear Burn, that all of these show black or white is transparent. I'm going to flip the script and go into subtract lightened screen color, dodge and glow dodge, lighten. Everything black is see-through here. Everything dark is barely there. So let me grab like e.g. this dark green and throw it down right here, right? But the lighter stuff is still visible. Okay, Interesting. So let's say I want to go screen. It's the same kind of thing. I could see all the lighter stuff as being very visible color dodge, Interesting. So the harsh whites stay as they are, right? But anything other than a harsh white as it starts to get into different colors here on the ears of fluorescent green, I'll throw down over here, wow, that could be pretty ugly, very reactive, but also very cool. Look at this effect here. And I'm looking here, it's, it's kinda washing it out and just showing me the lines, right? So one thing I might use this color dodge form, is I'll grab a lighter color, maybe like a blue or something like that. And I can use an air brush and just kinda come over here and kinda dodge. It's almost the opposite of burn, but it's harsh. Harsh, harsh highlight, right? As harsh lighting. You can see how it might be good for adding a moonlit glow coming into off of a character or something like that. It gives that nice burns glowy effect, right? Okay. Okay. I'm going to reiterate that when we have these colors here, these tonal spectrum here, and all this assortment of colors, they're going to react very differently depending on these layer settings. That if we go into darken, multiply, color burn or linear burn, the white disappears, the absolute white disappears. But anything else, tonal value and shades remain. The opposite would be true for lighten. That the black disappears and anything light remains. And you can use this, this grouping for shading, this grouping for highlights or lighting or something like that, right? So when it comes to comic book colorists, this first bundle, they use the most and you're going to find this in other apps. This first bundle though, there'll be a lot of these similar options. Maybe not eight to ten of them or whatever, but similar. Now, we can get into this lower group of options, right? And this one is almost all the same. They start to get into small variations of this. Whereas in we're starting to add an add glow. This is adding a light and effect around that. An overlay which gives, grabs the colors that are there and just kinda lays them over and punches up the colors below. Soft light. Hard light. You can see how these react. Difference will flip the script and make it almost like a photo negative, right? And you can see how cool that looks. Vivid light, very similar to difference. Linear Light is similar as well. Then we get into a pin light. What I'm gonna do is I'm going to turn this off and show you just on this one. The second copy, how it looks on some of this. So that's pin light doesn't show anything through a Hard Mix. Wow. What does that look like? That looks like some retro poster exclusion. Kind of starting to wash out the value a little bit and really mess with the colors. Darker color on this particular one doesn't really show anything lighter color. I find these two basically ineffective for the most part. Divide. It, flips it into just a white tonal value hue. This one isn't gonna do anything, sorry, cute. And I'll show you why. Saturation, color and brightness. Now you notice that the bottom there was no changes there. And I'll show you why. Because what we're gonna do is create a new layer here. And we're going to maybe select all and fill it with this blue. Okay? So now this blue is, I just splashed a big bucket of paint on this. The blue is filled this new layer, I'll call it blue if I want, right? Actually, you know what, I'm not gonna, I'm just gonna call it color. I like to label my layers here. I'm going to come back down all the way back down here and start to see what this looks like. So I'm going to throw one there. Oh, that's interesting. It added that blue hue on top of the colors below, on top of the art below. And now that art has totally got a blue hue to it. I can go to saturation. And that does it change it much? Yeah, it punches up the saturation using a blue overlay on it, a blue modifier. You can like that or not depending. I don't know. I think it definitely does punch it punch that saturation. I don't know if I like it, but it gives an interesting effect. Color will do the same thing as hue, but just a little bit different. So if we jump between color and hue, you can see how Hughes subtle in the opposite colors like red and everything were then color is almost overpowering. It just lays on that blue color on everything. And then brightness will, depending on the tonal value of what you're using, will really punch it up in a ridiculous way. Now I'm going to show you a little trick that colorists use. Let's say I go to hue. Now, I want to late as mood onto this, a midnight mood, but I still, my editor is saying, Hey, you still need to show his red colors or something like that, right? Well, I can back it out. I can adjust it to see there's 0% opacity. There's 50 per cent. And there is all the way 100%, right? Let's see if I do that with color. There we go. There. That gives a nice cool vibe at 40%, while still showing that the cape as a different color. If I punch it too hard, everything is blue. But somewhere around 30 to 40%, It's cool because it's a blue color, right? It's a cool overlay on top of this layer. So this is the next trick that I want to show you guys. When we get into these layer adjustments, right? This one's at brightness, not really showing much. Let's go with back to hard light here. Well, we've got this hard light actually on one. What was that? Hard mix? That's what I like. We don't always have to have the opacity at honored percent. You get back it out. Right? Maybe I want it at around there. Ten or 11%. Maybe that gives my background effect exactly what I'm looking for. I can come to overlay and maybe punch it up. No, that's too much. Yeah, somewhere around 26%. If I punch it up, it kind of flattens out the darkness a little bit. I don't like that. This is a 0%, but I think maybe a little, little punchy at around 30%, I can come down to exclusion. All the way is weird. But if I back it out, that might give me the look I want. So this is really what I want you to do is play with all of these settings and say, Okay, well, what do they do roughly as we've gone through these examples here? And how might I use them for what I want to achieve, right? How might I get into it and say, Well, is this what I want here? You can do with a flat image, like I've got here. You could do with a color overlay, like a big flat one, right? This. Or you could do it with the colors that are on top. And start playing around with them and say, Okay, well, look at that. How does that react to what I want? Is this the look that I want to give, right? Do I want spawned to be as rainbow warrior? Maybe, I don't know. But really, you can look at how different colors are reacting on your piece here and see if that's the look you want. All of these blending modes, the layer modifiers are fun to play with. You can do a little bit with it in a brush. But really the layers. This is where it's at for editing them. So have fun with this guys and mess around with it. Spent a lot of time in it. That was very, very cool, right? Like there's a lot of things we could do with that. There's so many effects that we can have, so many changes that we can do. Learn all these changes guys really take the time. Some of them are really subtle, and some of them have a really big impact, right? Master them. Okay, maybe you won't ever master them. Get familiar with them, familiar with one block of them, do with the next block, do with the color ones, do. And just know that they're there for you to use when you need them. 13. Layers Raster vs Vector: In this unit, we're going to talk about layers. Again. I know this is getting on and on with all these units. Well layers, but this one is important because we're going to talk about the difference between raster layers and vector layers. Maybe you've heard these terms tossed around the industry before. Maybe not. But I'm going to explain them both to you so you can be comfortable in choosing which one matches your needs. Okay, So talking about raster layers versus vector layers, right? This one honestly, it confused me when I first started getting into this. And I'm going to break away that confusion for you. There's different ways we can come up to the top here and create new layer or create raster layer. But the easiest way I find is just coming off to our little layers side menu tool. When I click on the one to left, this is a create a new layer. It's going to be creating a new raster layer. Actually, it's a simple looking one. It looks like anything else. You're not gonna be able to look at this type of layer and see anything different. So what is a raster layer? Well, the way I want to explain it is it's just like your canvas in front of you traditionally or something. You can grab a pen and you can draw, right? This is our, my pen in front of me, and that's what that looks like. Now, what if I want to do something with this pen? Not meaning like my pen, pen, but my pen stroke here. Well, I've only drawn it. So my options are a little limited. I can grab my eraser and I can smudge it that way. I can maybe select part of it and see if I can fool around with the transform. Let's see if I can transform it. Like really squish it. All that kind of stuff, right? I can kind of pull it. Right. That kind of works. But I'm limited, as in it's still like a brushstroke, like it, it gets really wonky if I do that way, a good way. Remember we talked about being able to smudge things as well. Smudging, use my fingertip blending or something I can kind of push and pull it right? It's, I like to think of raster layers as basically, like I said, just my pink Canvas. I kinda throw paint down there and I can play with it. Oh, that's a cool effect. There we go. Okay. That's a raster layer. It's a bunch of little pixels. Remember we've zoomed in and looked at quality before. It's a bunch of little pixels. And they're basically like little droplets of whatever paint I want to throw down here. Once I've dropped them on down there. Well, not much I could do with them rather than push them, pull them, smudge them, put my finger down. Ligands budget, that kind of stuff, right? That's how I want you thinking of a raster layer for most artists when we're using our pencil tool or something like that, right? This is what we would, we would use. We would use some type of raster layer and then shaded out or something. And for most traditional artists, this is gonna be layer for you. For most illustrations, this is the type of layer for you. So whether it's in the layer settings of the brush settings or whatever, most of you artists are gonna be wanting to raster. Setting. The opposite, not opposite, but the other option here is a vector layer. So what's a vector layer? Well, it's the easiest way is we create a new layer off to the side here. You can see it's right next to that one there. And we could do it up top if we want into the layer and create new vector, right? But we can press on that. And now it looks a little different when I'm looking off in the box. So if I look on the screen here in my main canvas, doesn't look anything different. But when I look up the scene, I could see that little, little cube effect. And we know we've kinda played with that a little bit already, right? That's that object one, right? So I'm gonna do the same thing here. I'm going to grab a pen. Pen because I like that. I'm gonna do the same thing and it looks similar to what I did off to the side. So if I'm just looking at these side-by-side before I went and messed us up. There looking mighty similar, I can zoom in. It's got the pen quality. Maybe the pixels are a little bit better on it, alright? But not a whole lot different. Not a whole lot different going on. Just from, just from visually looking at it, but vector layers are fundamentally different. And I'll show you why if you come over to the, your tools palette and pick on the operation, right? What that does is it shows you that this stroke now isn't a whole bunch of little dots or pixels that paint thrown on there. It's actually points within this stroke, points that you are able to edit. How cool is that? This is vector art. That you can edit the stroke, you can edit. The tip, you can edit all this stuff. You can come in. And let's see if I go into the correct line here. This is down at the bottom. It's kinda like this. See if I can describe what this symbol. It looks like your finger pushing a pixel or isn't like that. And you can come in here and color over a look at that, how it corrected it a little bit. See how I'm correcting this will smooth it out a little bit. Okay, so there's some simplify the line a little bit. Alright, there's some things I can do. I can correct the width. Maybe I wanted to fatten it up a little bit. Smooth at all that away, right? See if you can see how I keep doing it all, fatten it up. I can send it out a little bit. Here. I keep thinking that since the line a little bit. So what kind of artists use vector art? Vector art is mainly used in graphic design when you're designing logos, especially things that are going to be blown up in size, that can be blown up and reduced and still maintain the integrity of this pixel count and this line, because again, this is not ink splash on here, this is a line. All of these are computer points saying, Okay, this isn't aligned so much. It's a mathematical point from all of these thing. If they're this point here and this thickness is attached to it, it will always be that. So whether I blow this up to from 100 pixels of resolution to 1,000, it's going to take, keep this integrity. When I work in rasters, you'll notice like I have to start the canvas in a certain type of quality. A certain, we've talked about setting up our workplace and setting up a new document and stuff like that. And the resolution, right? So if I started at 400 pixels, remember I come here and I'm like File New. And I start at 400 pixels here, okay? Right here. That means that I can get bumped to eat. I could, I could bump the image to eat and stuff like that, but it's going to lose its integrity because it was, it was just drawn as paint. So imagine all of a sudden stretching out that paint onto a bigger Canvas. Doesn't quite work. It doesn't hold its integrity. It did maybe become blurry or the sheep just doesn't hold the weight should. That's the difference. This is a vector style. Vector is dependent on the amount splashed on in that resolution. Rasters vector isn't. So you can expand this into e.g. you draw your little logo or whatever it is for your company here, mascot and everything like that using vector. Or you can expand it into an easily 20 or 50 foot poster or condense it into a business card. And it's still holds the integrity of that line. Cool, right? That's the huge difference between these two guys. That's what I want you to work on. Okay? There you go. Now you understand the difference between a raster layer and a vector, right? Keep in mind that you might never have to use vector art. That might not be your thing or vice versa. You might not be a painterly type of person, right? But now you know that you can have both of them within Clip Studio Paint. So all of a sudden you get hit up to design a logo and has gotta be expandable. Extensible. Raster is not where it's at. Its factor. Was actually going to quiz you on that. I was like, should I throw a quiz at the end of this unit? Now I'm going to make it easy for you. No quiz here, guys. Just realize that it's important to know the difference and to be able to operate in both of them. 14. Layer Mask: Hey guys, I'm back in this unit. I want to talk to you about Layer Masking. Okay, So what is that and why would we ever need it? Well, basically, it's going to help you in a lot of ways that you never expected. So let's say here I've got this picture of classes that I was thinking the other day. Let's say I want to draw a bit of a not know, some type of background or something. Let's see if I can do this. I related background but like a hill on the back or something. I don't know what I got here. Good enough. Right. I've got this right. And this can be speed lines, it can be anything. I'm just being lazy insane. It's a goofy on the back behind them. Now, obviously, whether if I go over to the side here, whether I put this layer behind the ink or in front of the ink, it doesn't really matter because this is just inks. He's not a solid colored character or anything like that, right? So it's shining through the inks, it's showing through and stuff, right? So what would I traditionally do? Well, and I would just come in here and add my handy-dandy eraser and maybe make it a bit larger. And I would erase and maybe erase here or something like that, right? And I'm going to back out and you can see, okay, well that kinda gives the impact that I wanted to give, right? I can do a different style of erase and just come in closer to it and make sure it's just like that. Right. And there I go. Like that. It looks like it's supposed to look. I can do it for that thumb to but there's a problem. Problem is what if I want to adjust something? Like what if I want to move it a little bit? Well now all of a sudden, this is really messed up. And the only way to fix that would be to either redraw that line or see if I could step back and enough from the process that my Control Z or Command Z, whatever it is that I can repair it. But that doesn't work if I've already done a whole bunch of different stages, right? So then I end up redrawing it and it's a bit of a pain. So erasing in and of itself is fairly permanent. Yes, even digitally, even though we can go Edit and then Undo and Command Z back in number of stages, there's a limit to that, right? There is a permanence when we use an eraser tool. Well, I'm going to show you how to do that so that it's not permanent. And that's what we've talked about, layer masking. I'm going to come down to layer section. I'm going to come down to this little option down at the bottom. It's going to say Create Layer Mask. You can do up in the menus up here as well. There's, there's a way to do it up here. Or you can right-click on this. And created in that way as well. Like I said, for me, the easiest way to do it is to come down here and Create Layer Mask. I'm going to create this layer mask. Okay, so what did it do? It added to like this weird little page onto this layer, right? It seems like There's this weird thing going on. And you can see it's very hard to see, but right around it, it is outlined right now so I can either click on that. And it means I'm drawing on the original layer or I'm drawing on this layer mask. Kinda like little page added on, right? Okay, so note that you are there back drawing on the original layer, or you're drawing on this. Let's click on this layer mask and draw on it for a second. Now if I have my pen selected in black and I'm drawing, nothing's happening at all. The way layer masks work, whether I'm drawing in white or black or any other color. If I'm on this layer mask style or a layer mask area, Nothing's going to happen. I'm putting a solid on top of a solid. But watch this. As soon as I draw with a transparent, you can see me selected over here. It starts to erase. Okay? So now I'm erasing quote unquote with a transparent that was kinda ugly. Right? So I'm erasing with this transparent. And that worked that worked awesomely. But did I really erase it? Well, I don't know. Let's check it out. I'm going to bounce back out. And let's say I want to move it around like I did that other time. It's still messed up. It's messed up to what it was. But do you know how I get it back? I go back to one of my solid fills or whatever. And all I have to do is draw it back in. Now, if I want to do it quickly, I can just select and fill. Right? Now. I could do that at any stage. This layer mask allows me to do that at any stage. So think about this going forward with a lot of things that how easy it is to yourself in a bind where you've erased something. You're like, jeez, I didn't wanna do that and now I've got to redraw it or re-color it or something like that. Using this layer mask will help you in that little hint though. Like I said, down here, if I click on this, I'm back to drawing on my layer like normal. But as soon as I click on this, on the layer mask, imagine like a little sheet of paper and that's just helping you out here. I have to choose and start to use that mask. There we go. Another way to do this, like let's say I've got all these. I'm going to back out of here and draw a whole bunch of squiggles through a whole bunch of squiggles on this. Like, how would I do it with a pen? With like, let's say I've got speed lines, I've got whatever, whatever it is, right? What I'm going to come to my ink layer, select my ink layer. So I've selected it. I'm going to, I'm selected the white. Actually I've selected the white everywhere right now. I'm going to inverse it. So now I've just selected my character. Just selected my character. I've gone back down here, click on that layer mask, and I'm going to fill with that transparent there. And that's an easy way that I can now erase. And I've got air quotes going on right now. I can now erase or hide all of those squiggles and it's not forever damaged. It's not destroyed or disappeared. It is, I can get it back whenever I want. Guys. Layer masks are super helpful for being able to edit without it being Uber permanent. Okay. I've shown you how to do it here with line work, but you could do it with panels, you could do it with colors. You could do with editing objects, whatever it is. Play with it a little bit. Have fun with the layer masking and see how it can be a tool that you can use to help you create. 15. Layers Extra Tips: Hey guys, we're back in this unit. We're going to continue to talk about layers, but I'm just gonna give you some tips. Now this unit, I couldn't really figure out how some of these tips would fit in with the other units on layers. So I kinda just mash them all together into this tip unit. So don't worry if it jumps around a little bit. I have a feeling you're going to appreciate them all. Okay, so let's talk about some extra little tips I can give you when dealing with layers. One thing that I like to do is select multiple layers at a time. Sometimes what I can do is click on one, go down to where I want to click on the others and just kinda hold down shift key and click on the next one. Bunches of them all up into group. If I ever want to de-select that, I just tap away from it. I just happened. Other words, you can also, depending on whether your Mac or Windows, you can click on one and then hold down the Command or Control and just kinda select them that away. Right? Now, why would I wanna do this? Well, let's see, I've got a new folder. I'll create a new folder and I want to move some of these pieces into that folder. I can just select them all at one time and drag and drop into that folder. Really convenient for depending if you, when I get into bigger files, there's, there's multiple layers and it can get pretty confusing sometimes. So learning how to select multiple layers, That's great. Another way to aid in that confusion though, is learning how to color them. I don't mean coloring on the layer itself. I mean color-coding these, right? So there's a little box up to the side here on layers, and you can just color code them that way. So let's say those ones are red and for whatever reason, these ones are different than I want them to be blue. And so e.g. this is my whole my line work and stuff. This is my added colors or something, whatever it is, For whatever reason. I can use this little box up here to help me organize groups. And there's literal little color-coding box helps me organize my layers. If you're just working on one or two layers, It's not a big thing. Naming them will suffice. But when you get into these larger files, you're going to want some way to organize them. That way. It's nice and easy to say, okay, I've got these selected. I'm just going to de-select them as visible light, turning on and off these little eyes will make them visible. For me, it's much easier if I've got them all in a folder here, let's say all these red ones are, again, for whatever reason they're organized together, I can drag them into this folder. And they're all in this folder right? Now, if I turn this folder on or off, it'll do that for me. Okay, it'll make all of these visible or not visible. So that's one way to do it. I don't like them in that folder. I'm going to drag them out of that folder. Get rid of that folder. Folders for me are the easier way of organizing. Some people like this color system or whatever, but I like folders. Again because I could turn it on and off with one-click for the Seeing AI type of thing, right? Okay. Some things that I want to show you for layers. Let's say I've got all my files here, but I want to see how it will look without fully exporting it. There's something I want to do to it. I'm going to go layer up here and go down to merge visible layers or merge visible to a new one. Merge visible layers will basically take all of my layers here and combine them into one flat image. I don't wanna do that. I don't want to do that ever. But maybe if I'm done with the project, I wanna do that. There are something. What instead what I wanna do is go merge visible to a new layer. That'll combine all these layers into one. So this is now this one layer and you can see it if I want to move it around a little bit. It's that one layer. Now, let's say there are layers that I want to combine. Two of them, e.g. I. Might click on this one and I can go Layer Merge with layer below or just Command Control E. Okay, so oftentimes when I'm doing a sketch, Let's create a new one here. One page was good enough. Let's say I'm on layer one here and I'm doing a sketch on this one. And then on the next layer, I'm also doing some edits and I'm doing a sketch on this too. I really like how that looks and I want to combine them. All I do is Command E or Control E, and it merges it back into one. Okay, so that's a quick way of merging layers there. Alright. Another thing that you're going to want to know is the little lighthouse. If I'm on this layer. And let's go down to a later that matters a lot more. My line layer, if I'm on this layer and I want to color using this on a different layer. So my lines obviously are the lines I've got here and stuff, right? You can see I've already done that. I've already selected this layer as my reference layer. So if I create another layer here and call this color flats, e.g. but that's okay. If I want to just color away on this, that's fine. It's going to fill its gonna do whatever. Just from, if I wanted to reference this line layer, well then that's what I wanna do. I want to come up here and have this lighthouse selected so that when I start fill what I start to select and all these types of things, it's going to be referencing this line layer. That's nice and handy. Okay? And last one on this, Let's say I want to erase a whole bunch of things, not just on this one layer, but like every layer. What can I do? Well, it's actually kind of simple. I can go over to my eraser, click on that, and then take a look through my erasers and pick the one that says multiple layers. Choose my size and just get erasing. And I mean erasing Really, it wipes out everything on every layer. So use it sparingly and make sure you have that control Z or Command Z handy because I know it's a pretty powerful tool. So what do you think? Some pretty handy little functions in there. Some things that would really help you. Maybe if you're in a tight spot, figure way through to find things that are really streamline your work process. That's what these tips were four, I hope they help and I hope they help add tools to your tool belt. 16. Converting Scanner Art to Digital: Okay guys, In this unit, we're going to learn a little bit about converting line art into something usable for coloring or whatever within Clip Studio Paint or even inking. Now this is a bit of a bonus unit here because I wanted to add it in. Just so you can understand the intricacies of bringing something from your sketchbook into the digital life. Okay, so in front of me here, I've got a lot of different samples to show you from some artists, friends of mine. This was a contest that I ran, Spider-Man. So you're going to see the same script done out a few times. This is from Mike Van Orton. He's a good buddy of mine. Great artist. But as you can see, he submitted some pretty rough pencils. These are still sketch. They're really tough, really tough to deal with, right? Like there's a lot going on with this. This is, this is not the roughest pencils you could deal with, but they're also not the cleanest. You can see a lot of unfinished lines going on. Unfinished character work and stuff, right? But he's an amazing artist. It looks great. Great approach to the script. Just realized that this, as a colorist, might take some work, you might have to get into it. And I'm going to show you how to get into it. A little bit cleaner lines would be this submission. Right? You can see how the lines are. Still pencil ish, right? You can still see some, some roughness in them. But they are cleaner, easier to deal with. Even cleaner still would be this submission of inked work. You can see how there's a lot cleaner lines here, a lot easier to deal with. And especially once we get into how to select lines and all that kind of stuff, you're going to see why this gets even more and more important than the sample that we can be working on. From my buddy Dominic Here. Lot of great lines going on here, a lot of great things going on here, right, but great submission. But also you can see how as we get in here, it's gonna be there's no sketching left. There's very few of these little tails and stuff like that. This is gonna be something nice and clean the color. So not from worst but from rough to clean. We want clean. We want preferably clean to color with the cleaner, the better. It just eases us. He's sharp pain in trying to figure out how to split it into this, where to start that kind of stuff. So first thing we can kinda look at here is how to clean up a scan a little bit. Once we've got this rough scan, depending on the program you're using. I'm using Clip Studio Paint right now, but Photoshop, all of them have something similar. You want to go into some type of tonal correction. Maybe even brightness contrast or level correction. I prefer levels, right? And what we can do is start to adjust. So you're going to see how that made it worse, right. So I don't I don't want that I want to back that away. I cleaned it up a little bit. Maybe darken the lines but lighten that up and just play with it. You play with these levels. Sometimes you could use a bit of a curve. Alright? So I wanted to, but this is taking up the mids. So I think I want to backup the mids as much as I can. It seems darken up the lines. Here we go, But now I'm starting to lose the lineup. Alright, so I want to back up just a little bit. And that's a little cleaner, right? I don't necessarily love it. I might go in and e.g. I. Might go in and clean some of this up if I want to, if this is really bugging me, right, I can come in here. And this is where it gets really tedious. And that's why if you're not doing your own stuff, you have really good communication with the line artist of what their expectation is. Do they expect? Really? Are they going to give you something really mucky that you have to deal with? Or are they going to give you something clean? That's easy to just touch up? Coloring at this stage is the cleanup duty of dealing with the pencils and stuff, right? This is this can be you can see how tedious this can be, like coming in here, cleaning all this up. Now you might not want to, you might not want to clean this up. You might want to keep this kind of authentic or whatever it is, right? You know, you a little bit of that sketchiness field to it. It's up to you. And that's something. Again, if the line artist is somebody. That's not you. Then that's something to discuss. Okay. So you can see how this got cleaned up and you can see the original cleaned up scan and you can punch it even more. You can sit there and play with it for hours and really punch, punch, punch it. I can maybe even go on top of this at another layer and that can multiply it, back it out and see, you know, there's a lot of things that I can play with here. Trying to adjust and say, Okay, well, I want to eliminate the, a lot of the gray tones, the sketchiness as much as I prefer, right? Or as much as I prefer discussing what the artist but still keep keep the quality going. Yeah. The original, which is I would almost describe as dirty. It's a dirty sketch. Write. Little bit cleaned up, and you can spend how much time you want to spend cleaning this up. Like he could really take hours. I don't like spending a lot of time, so I do my line work digitally so that I don't have to spend all this time. It's really up to you. It's up to you how much time you want to invest, adjusting the levels? Yeah, that's all I'm gonna say on this level adjustment. Okay, so the next thing I'm going to talk about a little bit here is getting rid of the blue line. Now, when I do sketch on paper and stuff, what I do a lot of is BlueLine sketches. And a lot of the paper that you're gonna be working on can be BlueLine already. The bordering and all that kinda stuff to shimmy you away from the edges will be blue line. So if we look at this, maybe this was a cheap printout, right? But like there's a lot of BlueLine boards that actually have that are already BlueLine did. And so it formats it for you, for print. And I'll show you this later when we're formatting a little bit, right? That we've got all this blue line on here. Blue lines are awesome. I like I said, I love sketching with it and stuff. But then when we scan it in, we're dealing with that blue line ugliness, right? So how do we get rid of it? Well, it depends on the program you're using. So I'm going to teach you a few different ways. Me using Clip Studio Paint. That's my primary. I love it because it's inexpensive and no subscription. If you can buy it for like on deep on a deal for like 20 bucks or something like that. 30 bucks. And you've got it. It's an awesome drawing coloring program. But I'm not advertising for Clip Studio Paint. I use Photoshop for years. I really love Photoshop. I just don't love Adobe's pay model. Okay, So in Clip Studio Paint, what we can do is we go into Edit, Tonal Correction, tone curve. So remember, I'm aiming to get rid of this, all this blue stuff, like all the blue border outline stuff again, right, so come down here, go read and then grab this and drag it all the way up the left-hand corner, drag it all the way. Okay. I'm not loving it so far. They come down and go green and do the exact same thing. Okay. Now that that's not looking pretty at all. Not at all. But that's where I'm at. I'm all yellow. I'm gonna come back, go down to tonal correction, hue saturation. And I'm going to bring the saturation all the way to the left. There we go. Okay, so now what does, what does that do? Is it got rid of all that cyan blue line, right? And made me Great great homes. Maybe two gray actually, depending on how I'm working. I actually like working in not stark inks. I like this kind of gray. But for a lot of people, maybe they want to punch it. So what I would do is come over back into here Tonal Correction and go to levels. Where am I here? Level correction. And then I can start to adjust from there. I can bump it up and just nudge it a little bit wherever my comfort zone is, right? And right there is my cleaned up getting rid of the Buddha in Clip Studio. One added feature that Clip Studio Paint hazard. I absolutely love when converting line art into something workable in the program. Is this. Okay, so I've got this page here that's already cleaned up. I've done some work on it. It's already like a wall. It's a very great page to begin with, but I mean, like just kinda clean up some of the fuzzies and stuff like that. There's still the gradients, but other than that, it's looking quite good. What I can do is just go to Edit and convert brightness to opacity. How cool is that? Now, if I want to, I can fill, Select All, then fill it and then put this layer on top, on top of this background sheet or whatever she wanted or whatever. And now all of this black, instead of going to if I wanted to remember how I can switch it to multiply or whatever, that's fine. I can still do that. But sometimes even just for quick sketches that I don't have any rendering in. What this can do is basically treated as if you drew it in Photoshop or in Clip Studio Paint or Photoshop or something like that. What it is is now all of that white gone. How cool is that? Clip Studio Paint? Very cool trick. Okay guys, I hope that really helped you understand how to bring in something from your sketchbook into the digital format. There's some little bit of tough ways to do it. Sometimes it can be a little tedious. But if you really take the time, it will save you a lot of grief down the line. I hope this helps. 17. Action: Ready? No, wait, wrong action. I'm going to teach you how to create actions within Clip Studio Paint. What our actions, what are they even? What does it mean? Well, you don't know. Jump on in and find out. Okay, So in Photoshop I used to use actions quite a lot. You can download actions for these programs and they can make your life a little bit simpler. What is an action? Well, let's say I've got a series of things that I do always at the end of a coloring session or something like that. An action can kinda almost like a video recording or memory according of what those steps were. And then do it every time I apply that action. Strange. You understand? Probably not. So why don't I explain it? What I'm gonna do is come up here and go Window and go down to auto action. Somewhere on your workspace is going to pop this up. So I'm going to create a new one. And I'm going to say background knows. Forget the noise. Let's go with the background knows. Okay, so I've got background knows, right? And then what happens after this? Well, this is what I'm gonna do. I'm gonna come down to the bottom here and I'm gonna hit record. So I'm gonna make my own action here. Watch this. I'm going to hit Record. Let's see. There we go. Hit Record and I'm gonna do a few things. I'm going to come back to my layer and you see how this layer is all by itself. I'm going to create a new layer. I'm going to label it. Knows. Let's see if that works. And then come up to Filter. We've already talked about filters before. Do Perlin noise. I've got this massive cluster of noise on here. I wanted to really tight, really, really tight. There we go. Really tight there. That's the kind of noise that I want just because I'm going to add a little bit of texturing to this. All I'm gonna hit. Okay, so now I've got this big panel of noise. I'm going to switch the opacity or switch the blending mode to multiply it. So I can see through here. And I'm going to bring this down to what do you figure somewhere there that I can see just the texturing their right to 20. I want it as light as possible, 20. So now that I'm done, then I'm gonna go back to auto action and hit Stop. So what this has done now is in this background knows it's basically made a little memory of all my steps. I'm gonna kinda make this a little bit smaller. And actually, I'm sorry, I didn't name that correctly here. I'm going to name it into background noise. Okay, so I've got that there, it's in background noise. And if I come back here, this is exactly what I want. What if I go and delete this now and I'm back to my original phenols death. Just this original piece, right? What do I do? Well, I'm gonna go to Auto action. I'm gonna go to background noise and I'm going to hit play. And look at how that went through all those steps really quickly and added exactly what I had done before. If you ever want to see the steps, you could drop this down and you can see created the new layer, change the layer name. Did the Perlin noise or even, let's say my name. Yeah, it did, it stuck it with nodes, right? So that's how many steps like, that's how detailed these steps aren't even messes with my ugly name. And it adds all this in here. And this is now my background noise action. It's always there every time if I ever want to get rid of it. There we go. I can come back and play it again. And there it goes. It's very subtle and that's exactly what I want for that action. Let's say at the end of coloring something, you always do some type of hue balanced thing. Or whenever you import line art from your sketchbook into this program, you want to do some things to it. Well, you don't have to keep repeating those things. You do it once and recorded, record those steps as you're doing it, all those little level adjustments and all that kind of thing. And save it. And now you've got a quick one hit button that'll do all those steps for you. Okay, so now you know what an action is, right? Is there a lot of action going on within an action can be, depends how you programmed it, what this is doing, or the function here is the main purpose of it is to save you time. If you're constantly doing the same thing, set it as an action. In Clip Studio Paint will do it for you. You know, being an artist. Sometimes it's about being smart, about where you invest your time and where you can save it. 18. Filters: Guys, In this unit, we're going to learn about filters. Are filters. Who am I kidding? This generation knows everything about filters. This is the Instagram generation, right? Maybe, maybe not. The filters that we use in illustration programs are just a little different. They're not quite like those selfie filters, filters and stuff, right? So take some time, jump on in, See if you can learn whether these filters will match your needs or not. Okay, So looking at filters, we can see the option up here at the top of the screen. We have a drop-down. We've got six different categories for them, right? The first one we're going to look at it as blur. So I'm just going to hit blur, come over to blur and see what this looks like. A little bit blurry. What I'm doing is I'm Command Z, like I'm kinda backpedaling every time I do this just so I can easily show you kinda what it looks like. So we're gonna do it again, blur and blur. A huge impact, right? It's a little bit there. Not much, it's barely noticeable. Okay. What if I go Filter blur and a strong blur? Again, just a little bit. I actually, you'd have to do this a bunch of times for it to really have much of an impact, right? So Filter Blur, Gaussian Blur. This one makes a difference and we can already see it there, there's already a bit of a blur there. Lines not quite as sharp way. Look at this. This is the blur that I really prefer because we can adjust the strength of it, right? So those other blurs know, honestly might be a quick one shot type of thing. But we have to do a few of them to media achieve what we want. Instead, just jump into this Blur, Gaussian Blur. You could bump it down, seats down to zero and see how sharp it is. Look around the eyes there. We can look at some fine line and see where it gets all blurry. This is around six and we can see that gets pretty blurry. If I bump it way up, you can see it. It kinda has to render the whole thing again. There is a massive blur at 40 years something. Where do I want this, this piece? No, I do this a little while ago and I want to show row here. But what I might do if I had an example of an I don't on this particular one, right. Because they're in the same layer. But let's say I had that Xavier School in the background on one layer and I had rogue in the front. Well, then I could do something like this and like blur out the logo and have her really sharp punching through. Or if I really want to use a little trick, I'll show you here. I'll make a copy of this layer here. All Blur. I'll do that same thing. I'll come Filter Blur, Gaussian Blur and bump it up to around here or something, right? So it's all blurry. And then I'll come any race. Give me an airbrush, soft, erase the head. And there. It gives a certain effect, right? Like that's not exactly it, but you can see how this is in focus and the rest of this is blurry, right? That's what I wanted to show you on that. Good enough. Okay, so going through the rest of the blurs, there's Gaussian blur, motion blur which centered direction or it could be both directions, left, right, That type of thing where you can change the angle a little bit. But this is great if you've got like a character running or you want to show motion and a photo or something, right? But that's how you do it. Next one would be a radial blur. That's from a central point going out. Let's see if I can get this going on. Give it a minute to just kinda render itself here. There you go. So radial means radius, like coming out of a circular center or something like that. That radial blur and bounce back. Another blur would be a smoothing one. I really this is almost similar to those original blurs. I don t think it does a lot, right? Smoothes out some of the pixels, that's about it. Okay, So not recommended for having much of an impact in my mind. Moving on, we've got correct line. We can remove the dust. Let's say there's a lot of like little pixel particles or whatever it might smooth those out just a little bit. And I can see how much dust I want to smooth out. I don't always love it, but it works. Another one would be correcting a line. And maybe I want to thicken it. This is going to get weird because this is not just a line art layer. So it can get really funky sometimes when you're doing that over just line. Remember we've done that. Vector art. Before moving on, we can distort. This is interesting, this distortion, I remember it in Photoshop and everything. We can hit a curved surface as if it's curved downwards. She's sitting on the cover of a golf ball or something like that. We can distort and fisheye. That gives us similar effect, right? In all of these, these distorts, we can adjust the power of the pinch. Like it can be quite strong. I usually have them kinda preset for me or it can be not so much. Right? Just pinching the middle of that, right? Okay. Another distort would be polar coordinates. It's kinda the polar points of this Canvas. Makes it look really wonky. I don't want that, but I want you to see it, right? It's important. Another one would be ripple. And I think some of these are starting to get like self-explanatory, right? Filter, Distort, wave. Wow. And of course you want to go in here and adjust the number of waves, the wavelength to see, is this really what you want? Often for an image like this, this is not what you're doing it for, but if you want certain effects layered over top of something like Jeremy, like, let's say I'm doing a wallpaper with a specific funky design or something, or like I did in my mind, I'm thinking of like seventies lava lamp type of designs. That's maybe where you have that kind of effect. You, you can make an image like just a bowl, like a red ball, and then throw that filter on it and really distort things. And of course the zigzag, right? Imagine this is almost like I got to brush that. I'm zigzagging through. Alright, I'm rolling through. I can have a effects of mosaic. It's kinda this pixelization of things, right? This is pretty cool actually. Because nowadays with Minecraft and this kinda pixel arts and everything, this does that to your established art so you can draw something with detail and then have that detail, detailed picture, you already got it. But then also take that same picture and mosaic it. In my mind pixel-wise it, right? Then see, you can adjust even more. Throwback to when I was young. Let's roll back to stuff like help with our graphics back then, right? Look at that difference. Massive. That's pretty cool for me. I think that's cool because then I can, I always like to create what I want for art. And then maybe somebody wants something different, like a small variation, and that's how you do it. Okay? So that effect, and again, here's our removing of noise. You can have. I don't know. It depends on how much noise you have in this. This is a fairly clean illustration, so it's not gonna be a lot there. Render, I can start to render noise. What I would do on this, and I'm going to back this up for a quick second, make a new layer. And let's say I'm gonna do that again. I'm going to render and I'm going to make noise. That kind of noise, but like the static, right? Okay, so I'm making this static and I can adjust a few things here, right? Maybe I'll make it smaller. There we go. Okay, so I've got this noise and I'm going to clip it to the layer below. And that's kinda ugly. But what does this start to look like? Well, if I want to back it out, maybe it looks like some type of textured stamp or something like that. So sometimes noise can be noise. That's my one dad joke here. You can see how you might be able to use this for quick textualization cues for adding that texture really, really fast without having to come in and Speck all these airbrush dots in there. Okay? Okay. Another one would be Filter Sharpen. And what this does is it sharpens what's on our screen here, sharpens the line work. Just if you've got something that's a little fuzzy. If you've got a photo or an illustration that's a little bit too brushed out. That can work that way, right? Come in, sharpen more. And it often takes a number of goals on it to really get an effect. This is a really sharp image to be doing. So it's probably not the best, best one to use it for. But you'll see if you're working in, you're kinda smudging things a little bit too much and you want to sharpen it up. It can define a line a little bit more for you, okay? This one is the same thing. It's a sharpen unsharp mask, right? You could throw that on there. Okay. So guys, this is what I want you to do. Play with the filters through what I just went through and see if you can show some of this looking at sharpening what it did there, right? That's interesting. If you do that just on your line art, you can get that line defect, right? That's what that sharpen did. We couldn't see it when we're way out here. We see it as we zoom in, right? Sorry, I got distracted there for a second. Okay. We've got filters down now, right? We've got some options here. We can fudge things out a little bit. We can add a little bit of green to it or whatever. Some of these can be overused and look really weird. Just like Instagram filter is actually not I think about it. But if you just use them suddenly, if you just kinda mastered the art of laying down a soft touch on filters, they can be a really tool, cool tool in your kit. 19. Story Set Up: Guys, now we're getting into some cool here. This is the story. The story kind of function within Clip Studio Paint. What is a story? Basically, we can think of it as a comic book. And in this unit we're going to talk about how to set up your comic book, how to set up your story, how to set up the pages and all of those different things so that you can get producing your comic book, whatever is in your head. Now you can put it down on paper. Really paper, but eventually paper. Okay guys, so how do we make a comic book? Basically, that's kinda what Clip Studio is all about, right? Like, if you remember, I kinda skipped over this earlier. When we were talking about setting up a new file, we hit File and then New. And we did the basic illustration. We went to all into this and stuff. Then I said, well, there's some other options here and I kinda left it at that. Now I'm back at that. Tell you what. I'm going to skip some things because it doesn't really make sense. Like we've got, if we come up here, There's a comic, there's fancier, and then there's all the comics settings. This one here in the blue encompasses all the options are for this. So if we learn this, we've got this. Why don't we just go with this? So this is comic, all the options. I'm going to have a filename here. I don't know, comic comic test or something like that, right? But enough, and I'm worried, Do I wanted to save it to, I want to save it into it. You gotta make sure you have all these settings because with this type of file you're, it's quite large. You can see it takes a while to chug through. Once in a while. You want to have it based out of somewhere that you have a lot of room, right? I had it in his comic book. I was working on Captain Korea. I'm going to put it in my class here, in my Clip Studio Paint class for now. Okay, so that's where the base of the file sits right? Now I can come in here and I look at this first category and it's the canvas. And we, we kinda know all this already, right? We can do the, the width and the height and the resolution. We talked about this and if we look off to the right-hand side here, it's in the units and inches, but we can switch it to millimeters or centimeters or pixels, whatever you want. I like inches. This setting is already a custom setting that I had programmed in from a printer that I use. If I'm if I know the, the, the trim settings on it, when you have a good printer and they'll tell you, okay, this is the trim settings. This is the border that you have and all that. Program it into here. Once you set all this, you can save it. Like let's say I'm making a new document and I change all of these settings and I said all this trim exactly how I want it. I'm going to save it as a new preset. I've already got this one saved. It saved under Kublai, the printing house that I use. This trim settings and bleed settings all the way here are the what they called a manga drafts settings, the binding and the default borders and stuff, right? That's the blue outline of the page that you sometimes see, right? You don't see that in the actual piece. Like when we go to print a piece or when we export it or whatever, all that disappears. That's only a BlueLine guideline digitally for us, which is awesome because it's not on the piece itself, right? So it never has to be removed from it. Removing blue lines from actual traditional work can be a bit of a pain, but maybe I'll show you that later on. Then we come down here and we come down to the bottom here and it says multiple pages. You can choose how many pages you want. Right now I've got it set at 24. That's a standard comic size, right? With that 24, it does for cover pages and 20 body pages. Cover pages seems like a lot. But it's not. And when I bring it up, you'll see why are binding here is set at the right. That is not what we're going to use in the West. For comics, we use left binding. That right binding is for Japanese print, right? So that's not what we use there. Make sure that you can scroll up and down. Then you get all of these settings in here. So multiple pages 24 left binding for a Western comic book. And then we come back up here and we've got to cover. So it's interesting how you can set the cover resolution at, let's call it 600. I want a detailed cover with tons of DPI, Jeremy, tons of room for adding tons of detail to it in the cover. But on the actual page, medium, just doing low-quality black and white. You can have this type of setting, right? The cover is a color copy. It's slamming, it pulls the reader in. And then inside you're going traditional and you just go on low quality or low resolution 72. And like a black and white monochrome. That's not what I'm suggesting. I'm just saying, look at the options that gives you here. And as we move down, we've got store information. You can write whatever you want in here. I'm going to tell you don't write anything. And there's a reason all of this shows up and if you hit the page number and stuff, it all shows up at the bottom of the page. And actually know what I'm just going to type. This is ugly. I'm going to put that in there and I'm gonna show you how ugly it gets, right? Okay. The rest of this is for different types of binding that you don't have to worry about. We can see up here, if we go back up here, we can choose the type of book we're binding to write. So this is the traditional book that we're using this type of binding for comic books. And overall, you might have to create this one or two times to really get what you want out of it, okay, We get what you want out of creating that format. Because you'll be like, Yeah, I want 24 pages known and unknown. What you wanted was 24 body pages and then the cover pages on top of that or something, right? So don't worry if this takes a little bit of fooling and retooling and all these types of things. I'm even Hackett, I'm going to throw the page number in there too because it's ugly. I'm just going to start it at zero. See what this does for us. Okay? So this is a basic template for making basic 24 page comic book. Let's open it up and see. It might take a little while to process. Sometimes you can see it chugging a little bit because these start to get to be pretty large files. I should probably restart my computer. So look at this. If I come to the story, this is called the story manager. So this is my story Manager page. And I've got all these pages right there ordered. Interesting Yeah, I mean, there's some interesting order here that it kinda comes across like, here's the cover page, Here's the back cover. Oh, this is interesting. Here's the back of the cover page. Right? And here's the back cover page. There's a whole lot of things happening here that I don't necessarily like it gets a little confusing. I can see they've grouped pages that would be linked together and stuff, but I don't know if I love this. Let's see if I fix it. I'm going to try to make a new one. I'm going to make a new one here. What I'm gonna do is come down to this one and I'm going to say spread corresponding page. And let's see the difference. Let's see just the difference. This makes it so spread corresponding page. Let's see what that does. Open it up. And again, it's going to chug for a second and let's see the difference between these two files. Okay? Okay. So now I've got to, I've got the first one I created a second one I created. Notice in the second one, there's a rap. When these pages are touching each other, these ones that are grouped together. Right? Now, it shows how the binding would fit in there and how you might want to make a double-page splash or wrap around cover. How cool is that? Right? So even if you don't have it, it's nice to see when you open up your book how the panels might flow like this and then bring you to the next page and flow like this. Turn the page, right. So this is, this is turned the page, turn the page, turn to page. And each one of these blocks, right? Really important when you're trying to lead the viewer's eye understanding page and panel flow. So just binding those pages together changes a lot, right? Okay. So let's say I want to open one up. I want to open up pages 4 and 5. The thing is, these aren't pages 4 and 5. Weird. This is actually depending on how I'm gonna do it. This is my story, page one, page two, page three, page for page five. So you gotta be careful once we start playing with this, because what mangoes Mango Studio likes to do is throw when interesting things here. So this should be page two and page three. But instead this is page three and page four. Remember when I went in here and I start playing with these numbers settings, what if I do this again? Sorry, I'm going to back it out. One I'm going to open it up again, a new file. I knew this. Too much of this. I just want to show you what all these changes do. Okay? Oh, hold on. I'm going to drag this guy up here. There we go. And I'm going to close this guy up. So this is a new this and let's see if that changed. What I wanted to hear. This should be page two and page three. Two-page, three-page. Got to love the grammar there, right? Okay. You can also see this is the ugliest gone. I don't like how Mongo Studio does this. I don't like how they have this at the bottom. It's probably going to get trimmed off anyways, but I just don't enjoy it. So remember, when we are making a new, new one, I said, this is ugly. I would get rid of it. I don't think it needs to be there at all. And it's your choice whether you want these page numbers, but I would. Not have them. So looking at this, how this is right now, this is exactly how I set my comic books that give screenshot, whatever you need. Maybe open all screenshot it for you and I'll send it to you and post it up there just so you can always have a quick reference of what the format is for a comic book. And again, this is my printer, so check yours and open up another one, another file. I'm just on a roll here. Okay, so I'm gonna delete all these guys. Delete all this. And here's my, my simple one. I really liked this format. This is really easy for me to understand that this is my cover. This has my back cover, right? So if I do a wraparound cover, it'll work that way. This is my page one and this is my the back of my cover page, right. So usually what do I do? Here's my cover. Here's my credits or synapsis or whatever I wanna put in here and stuff like that. And then I start on page one. And often this back cover, this cover, this cover back page, this cover page back and this back cover page over here, right, are done when I print them off in a different paper than the rest of this. This is often thicker gloss. This is more, not newsprint but closer to it. Then what do I have? Well, I've got my double-page spread here, right where I can draw page this would be page two, page three. So let's say I want to write on here and I'm just starting to draw page to write. This is my Drop page two. I could see it in the preview there. You know what, I don't like it up and top like this. What I often like is I can drag it all around. Sometimes I have it up top here. What I really like to do, what I prefer to do is drag it off to the side here. I have it as a sidebar, shrink it out, something like that. Why don't I just get rid of this here and then I can work this way. I've always got this reference and I can hide it and just kinda peek at it if I want or whatever, right? So clicking on the name per se, but this name plate and dragging it around will allow you to bring it wherever you want. So I can see that little page, the Drop, page two. And what I want to do, let's say I want to click on this. I actually don't like how that looks. I want to get rid of that. What I might do instead is start to say, Okay, well I've got this panel and this panel flowing in here. And then I've got a bit of a spread here. And another panel that drops down here, and then a panel that kinda goes this way. But I want to change and emphasize that I want directional things going up this way. So I'll make a note that I'm bringing them to the next page. Then as I continue to draw panels, I keep going down this way and you know, however my panels want to look right, That type of thing. I'll get into Clip Studio Paint, actual panels. I don't like to User Presets, but that's just me. I like my beautiful hand-drawn panels here. You can see how this works, right? That you're opening up a new file. You're getting all your settings put into place exactly where you want them. Once you open it all up, there might be a little bit of maneuvering and changing and double-checking what you want and everything right? Then you start to really get into it. Then you can bounce back from this page. You can jump around, you can open up this page. Drawn, drawn this a little bit more. You get to see it in the preview is off to the side. This is awesome for making a comic book and this is really what Clip Studio Paint is all about. This is one of the reasons people are drawn to it. I highly recommend getting comfortable in this, spend some time in it. It'll be frustrating at first because you're like, Oh, I don't get this setting. Come back to this video and kinda see how I worked on it. Look at the screenshot I'm going to provide for you for how I did this and everything, right? Most of all though, find out about your printer. Really, like find out whatever printing service you wanted to use, find out their trim and bleed areas and stuff I get and have those presets in because I got to tell you, everything is so tight here you can see this print margin and stuff. I get this. This is the fold in between the pages here, right? If you're not respectful of all these margins, it's going to bite you later on in your project, okay? Really, it's, it's tough. So be sure to get into it to understand how this all works to practice, even if you just do, like grab a rough script and draw out some thumbs or whatever it is, right? This is actually perfect for that because you're drawing out your thumbs. You're seeing how it flows from page to page. And you're making a comic book. Now, I want to see what you got. So maybe send me some. Okay, so how cool is that right now you know how to create this comic book file. And believe me, trying to do it in individual pages if possible. Like it really is you can do that individually. Why? Clip Studio Paint takes all that weirdness away from you. You want to do a double-page spread. It's there. You want to see what is on the front and back cover, whatever it's there. You've got all these tools and that's what makes Clip Studio Paint amazing. This is the program to make a comic book. This is the one. You've got that power in your hands. Now. How cool is that? 20. Story Page Panels: Hey guys, in this one we're continuing on our story saga. This time setting up the panels. Now, listen, the old way of setting up panels was basically thumbnailing, sketching it out, taking a ruler and drawing out the panels and everything, right? And you can still do that. Believe me, you can still do that in Clip Studio Paint. Clip Studio Paint got something new. Something very cool when it comes to designing panels. Not just designing them like the angles and everything. Yeah, it's got that. But I mean, clip Studio pains got something different here and I think you really need to learn it. Let's jump on it. Okay, so we've got our pages in front of us here. We've got this cool story all set up and everything, right? But I want to start drawing comics. I kinda showed you my ugly way of doing this before, right? I've got this page here and make a new layer. And I could just kinda rough in some, some panels here or whatever I want, right? And just kinda do this if I want it this way, right? Maybe I want to an overlap here and I come in, Erase that panel. You can see how this would be the normal way of making a page, right? And putting all the details in there. That is thinking of everything on one layer. And if I want, I could even have the panels above on one layer and stuff and I'm using my hand to draw these panels. And then if I want to start drawing within them, well, I can come below and let's switch this up and start sketching here and sketching here and sketching here. But the problem is that when I sketch it's kinda still all over this page, even though There's a lot of things going on here. This is still just a blank canvas to me. There's nothing wrong with it. This is great. This is, this is how I worked a lot. In some time, some ways prefer to work this way. But Clip Studio Paint has got this cool way. If we look at our tool selection down here, there's this called the tool frame. Now if you don't have it, if, if ever you're missing something out of your tool selection, just come up here and click Add from default. And then it'll give you a selection of all the ones you're, you've got possible and you can add it to it and it'll pop up here. Okay? So you can see I've got a Create Frame sub tool options here. I can draw a border, I can have it without a border. I can have it creating a new raster layer and creating a new folder. I can have at filling inside the frame, right? And all this is gonna make sense as I, as I get into it, the anti-aliasing and the brush shape and all this kind of stuff. I can change the shape of the brush and everything. I'm not gonna do anything. I'm just going to kind of go with this right now and just make a frame. Now you'll notice I've got it set right now, snapping to these trim guidelines, right? So it's going to, I'm going to create it. And wow, that was kinda cool. So I'm gonna get rid of this junk just so we can see what's going on here and stuff I go on this page. What it did was it created this folder here off to the left in your Layers thing. And in this folder, it's got the basic white. That is the background of this frame. It's got a blank doubt rest of the area. And then it's got a raster layer that I can just start drawing on, right? So this is the basis for Clip Studio Paint panels. So if I come over here and I grab my pencil and I start sketching and stuff you didn't see. I'm sketching, sketching, sketching, and it all goes into this panel. What it doesn't do is go off that panel. How cool is that? Right? Like I'm trying to drag it off and it's not it's just it's holding like it's clipped. We've talked about this before. It's clipped that I'm only going to be able to draw on this panel in this grouping. I can change it. This is frame one and I could call panel one or whatever I want to call it right. Anything that's under it that's clipped to it is all going to be in here. Pretty darn cool. Let's see if we do this again. And I'm going to create another frame, right? Like I'm just going to create another panel here. And we'll see this is what happens when I try to create it inside. Okay, so I'm gonna come over here and I'm going to create another one. There we go. And look at that. Now I've got two of these. I've got two folders off to my left-hand side and my layers section. And I've got two things that I could be working on. Alright, so I'm gonna come back and grab maybe not a blue, maybe a green just to show you the difference. And start sketching, right? I'm just sketching on the raster layer that's attached to this panel to I can't bring it over. No matter how much I try, alright, so I can draw on this. I can use rulers in this. I can, Let's see. I can literally use rulers in this and they don't drag off for anything. I could draw my lines and all this kinda stuff and they stay on this panel. Awesome. Right. Okay. I can go through and do a whole bunch of panels, right? I can see I'm gonna go back to this and I'm going to create another one. This time though I'm going to get rid of the border. I don't want a border on this. I'm just going to draw a panel like this. Okay. And you can see it's got an outline to it. But there's no actual black border set on these previous ones, I had a black border is set and the brush size of the thickness of the border and stuff that you can see off to the side here. But in this one is just a general outline, is just a whitespace. It shows me a guideline here, but there's nothing there. So I can do the same thing. I'm going to come here and I'm going to sketch something out a little bit. Alright? And it shows me that it doesn't go off, that this is a pretty cool this option that I'm giving you here. It's pretty cool because what you can do then is something really interesting. You could take this panel number three. I want you to drag it below all of them. There we go. So now I just dropped below. So now it's an underlying panel. And if I want to, this is even more. I'm going to show you how to edit these panels. We're going to come up into our operations and object. And I can have it snap to the frame borders or not, depending how I want. But you can see how I can drag this out. Alright, I can drag this out, so it kinda fills this page. So let's say I want to have this underneath this, these panels, right? Just this is kinda splash panel. Where it's maybe there we go. Okay. So let's say I want to have a talking head down here or something, right? So I'm going to come back and I'm going to make sure I'm in the right layer and I'm going to draw this little talking head. Actually, I don't want it black. Let's change that. Little talking head. Whatever he's, he's chatting. I'm not going to do the word bubbles yet or anything like that, but he's, he's chatting and he's happy. And so there's this excitement coming from them. Look at how that just set it as the background of that page. I can have this the entire page like this or just under these previous panels. That's pretty darn cool. So you can create panels with a rectangle that we've got it here, showing drawing the border and I could show the brush size. You can select it this way, or you can select it by the slider here. There's some options that if I want to, I can have a pencil or pen, a type of even an airbrushed one. I can have this come in here. It can be a little bit softer. With that airbrush outline. There's a lot of options that I want you to fool around with, but I would just want you to understand what's happening here a little bit. So what I'm gonna do is go back into this and change that brush and just go back to my pen. But this time, instead of the rectangle, I'm gonna go with a Pali. And I'm going to show you how maybe i'd, I'd want to make this diagonal so I can make a diagonal panel. Okay? There's another panel, right? Cool. We can see how we can get dynamic shapes in here and stuff like that, right? We can just do point-to-point point. If we want to come back up to the operations one and make sure I click on that frame and I can start to edit. I can edit the corners. Pulled him in a little bit. Alright. I can edit the height of it, the width of it. There's a lot of options. The angle, right? There's a lot of things I can do there. I can, if I really don't want this, this way, I can make it into a square. Let's say I messed up or something or it didn't connect properly. I can kind of adjust it a little bit and make this side how I want it. Okay? So you can see there's a lot of options for editing. Once you've set the panel, you can still play with it. I've even after you've drawn inside of it and stuff, you can edit it all around, move it all around, pull, push, pull, the edges of it, drag it out, change it. Gives a lot of versatility for when you're doing up a page, right? Like you're not stuck with what you originally laid down. Don't worry about this. This creates a lot of options for you to edit on the fly, to edit as you're in it. I want to show you something else here. Let's see, we're back to making a rectangle. Let's say I want this, my rectangle here. Gate. So this is my my panel, my first panel on this page, whatever page this is, right. I'm going to edit it because I don't like how it's bumping there. I'm going to just shimmy it over just a little bit. And you see something else happened there. Actually, I want to go back to that edit. I'm going to show you something that can sometimes happen. What was happening here was I was impacting another panel there. So let's see how we can get rid of that. We've got it, right, so let's see how we can have it or get rid of it. So what I was doing that here is the snap to other frame borders in the tool properties, we've got operations, the object and tool frames. We can come down here and this is snapped other frame borders. And what that does if I've got a click is it can have some impact of how it reacts and it wants to try to snap to these other frame borders here and stuff like that. Okay? You can see how it kind of bounces some guidelines there. Okay. So I've been kinda showing you how you can separate the layers and not have them interact with each other and stuff I get how you can draw on one than the other than the other. But what happens when you want to actually have a bleed that image bleed into that next next panel layer, right? Here's a little trick you can do. Let's say you draw this. This is, this is now your panel five or whatever. I've got it framed here. And I want to come in here and I want to draw Hello. Right? Now. I might like that just as that panel, but there's something else I might want to do with that. And that's when we come into the other sub tool frame here. And we go to cut frame. Now, right now it's got a weird gutter of a vertical gutter of eight and a horizontal gutter of eight. That's never going to work. Okay. So what I would change is maybe put this up around 70 and this is around 60. But you got to find what works for the image you're working with. The vertical. This is basically how much space is there. And so what I'm gonna do is I'm going to cut into this and divide it. There we go. And now I've got three panels, but they're all really one panel. They just kinda been cut up. And I can still come in and start to adjust and they're going to keep that spacing in between them, right? And so this is where you can really do something funky with even angled shots and everything you can start to angle in-between. Have the borders angled a little bit here. How cool is that? There's a lot of things you can do for editing your panels. Once you have this mastery of understanding that each panel is individual until you want to make them the same thing. I know like kinda weird and defeats the purpose. But it actually works because sometimes you're going to need something like this right? Now. Another cool one that I was saving for you here is we've done the rectangular frame, we've done the polyline frame with the angles and all that kind of stuff. Now we've just got a pen. So my pen is set at 20 and I'm just gonna go like this and I'm just going to and that created a new panel. It created a panel of the shape that I wanted it in. Right? Okay, so it's very, very cool. I get two. Design my own panel shapes using my own brush and everything, right? It's very cool. Depending on like if you want that really funky look to your comics, I don't know. I love it. I think it's a great option. And I think that when it comes to looking at all of these options within Clip Studio Paint of the regular rectangle, the polyline, drawing your own with a pen cutting into that. Starting to understand how these panels interact with each other. Being able to align them underneath each other, adjusting which one's on top and which ones on the bottom so that you can stack them and stuff. This is revolutionary to your comic production. Okay? That was pretty cool, right? Like the amount of options we have when designing panels that we can stack them underneath, move them around, expand them borderless, border, full bleed, all this kinda stuff. Skies limit on that, right? Like there's so many options that we can do. So here's your assignment for this unit. This is what I want you to do. I want you to design a page with a number of panels for me. Show me that you can have them overlapping each other. Show me that you can adjust the borders on them, that type of thing, and then send that page to me. It doesn't have to have anything in it. You could draw a stick man or whatever you want. Whatever you want doesn't matter, right? But I want to see that you can organize a page of panels. Get it done. 21. Boom! Panel Hack: Guys, I'm going to show you a little secret that I do. That's a step aside from creating normal panels. Now, this is not purely a Clip Studio Paint function per se, but it's something you can do within Clip Studio Paint. And it's something that you can do that'll help you create a comic book. And so I wanted to add this in here just as a little bit of a bonus unit to show you how you can create your own specific type of panel, like Clip Studio Paint doesn't have to offer. Okay, So I want to show you guys this little trick. There's a few ways to do this. There's always gonna be a few ways to do something. Like, I hate the adage, but more than one way to skin a cat. I'm going to show you one way to make this type of panel effect. What I'm sure, the more you get comfortable with Clip Studio Paint, the better. So the first step is writing out a big, impressive boom. I have chosen. If we look off to the side here, the font has been a boom. And it's at a 234 font size, so it's quite large. And once I have this out here, I'm like, Okay, well this might give the impact that I want, but I don't know if a panel would look very good within this. Might or might not. I don't know, I'm not loving it, right? So what I'm gonna do is come into my sub tool details. I'm going to start to adjust some things. I'm going to add the word spacing. Note that doesn't narrow it a little bit. There we go. That might be one on one. You might want to separate it way out if you want to make sure you have enough room for it so they're not touching. If that's the effect you want or you separate it all in, it might make more for a better squished looking panel, right? Okay, so I'm gonna go with this right now. Get rid of that menu because it takes up too much space. And I've got my boom here. Alright, so now I've got my boom. What am I gonna do with them? Well, actually, you know what, I'm going to make it a different color just to make things easier on the eyes. I'll put it in gray right now. Okay, so now I've got this. Now what I'm gonna do on this same layer as Boone layer is come up to my magic wand and use this with follow adjacent pixel tour below it turned off. So I'm going to select, this means basically I'm selecting everything. But the boom, you can see it went inside of here and everything selected, everything except the boom. Now, with the selection, I can come up here and I can invert the selected area or Clip Studio Paint is awesome. Right down below, it's got a hot menu. And this inversion, this little one here that I just clicked, means that instead of selecting everything that's not the boom, I've now switched it. Switched it back again to only selecting the boom. Okay, so now I've got this boom selected. What am I gonna do with it? Well, what I do is I create a new layer, a new raster layer right on top of that text. And I'm going to hit this. This is an outline selection tool. A little menu pops up in and asked me some questions here it's going to say, do I draw outside the border, on the border or inside the border? So outside of this selection, inside the selection or write on it, you can experiment with this a fair bit, play with it and see what works for you. The other thing you're going to also take a quick look at is how big of a font size do you want? Basically, not fancy. How thick the line like our brush line, right? So imagine this is a 20 pixel brush that's going to stroke this line. It's going to stroke all around this outline. Okay, so I'm gonna go with on the border and I'm going to hit Okay. Not bad. Okay. So de-select. And that's what that looks like right now. This is what it looks like right now. Do I like it? It looks okay. I think it's going to work for what I want. So I'm going to turn off the writing below the text and just use this. And let's say I wanted at the top of this page. So I'm going to go Command T or transform and kinda carry it over and fit it into my bounding my crop and stuff. Again, I wanted to I don't want to lettering like this, a panel edges like this. I don't really want to risk getting a cutoff, right? Okay, So it's sitting up here and it looks good. It looks pretty good. I can see it having an impact and I could see me doing panels around it and above it and below it and all that kind of stuff. Right? Okay. But not yet. Not yet. I'm gonna come back to the selection tool and say Follow adjacent pixels. And I'm going to select outside of my boom. Do you see how that worked? It's selected outside but it missed this stuff. I want to add to that selection so I can hit down the Shift key and I can add to it and click inside of each of these points. Okay, So now once again, I've got it selected outside of the boom, right? Actually, you know what, I'm going to come here and label this. Boom, just so I can reference it, right? So I've got it outside of the boom here. I'm going to come down and invert it. And now I've got selected inside the boom. Now what do I wanna do here? Well, I'm actually going to create a new layer and drag it below my boom. And let's call this flat, because this is an easy way to label this. You'll see labeling layers really comes in a lot. So I've got this flat layer below the boom and I've kind of got it a little bit. I've got it all selected. And below this with this selection that I used, I'm going to fill. Now if you look at this now whether I keep it white or I can fill it with a white, I filled it with a gray just so you can see. Now, this is actually similar to those comic panels. So we've been doing everything that I draw can be inside of this. If I create a new layer and then clip it to the layer below, that clipping is awesome. That means anything I draw on this layer is just going to be on top of that. So let's say if I come over here and I start doing my, my cool comics squiggles, right? You'll notice how they don't come off of this flat layer. They are bound to this flat layer. So everything inside of this is gonna be stuck within this boom context, right? Okay, so once again, what we do is we create a font. We write something out, a big boom, e.g. right. Then we select a rounded. We stroke it with a black stroke or whatever you want to use for your borders. Then we take that black stroke, treat it and start to treat it as a panel outline. Bring it where we want it. And then we can create all of these things that we would normally see in the panel. One little trick to add to this to help it all organized just like you would with any other panel, is I can create a new layer folder so I can label this boom, boom panel. And then I'm going to grab all of these and I'm going to throw them into that folder. So now if I create more, if I come over here and I create more panels and stuff, right? I don't want that. I want to black. I could create this panel here, e.g. it can go on top of this boom, or I can drag this layer below the boom. Right? How cool is that? Right? Like I've got now this as my makeshift panel. And then I can still be playing with the panels on the page. It's a little, it's not exactly the exact hack, like exact replica of what they did. But it really, really works and you'll get to see how it works sitting here in front of us. Boom. We did it. We created a boom panel, right? Like how cool is that? You can see how that can be used to great advantage when you're trying to design a page. It doesn't even have to be lettering like I did sometimes. Maybe it could be a shape or a symbol or something like that. Something a little bit different. That is a step away from what Clip Studio Paint is offering with their panels. Clip Studio Paint has a lot a lot of functions and their panels. But now I just taught you how to push on past that just a little bit, right. 22. Story Word Balloons: One other thing that's really cool, bokeh Clip Studio Paint is their word balloons. So in the old days, you know, plotting out word balloons and drawing them in and lettering and all that was tedious. Not just tedious but like frustrating. Because what if the editor came back and said No, no, no, no, no. We gotta change this dialogue. Well then how do you do that? You got to erase the page like, what are you gonna do? Clip Studio Paint, takes that stress away, or at least 99% of that stress and won't take away your editor. But it will help you edit. So let's check out how we can edit and build word balloons. Okay, so there's gonna be a few ways to make word balloons and dialog bubbles and stuff like that. And some are better than others. It's really up to you what works for you. I'll show you a few different methods and then I'll show you the one that I think kind of kicks *** on Clip Studio Paint. Okay, so the first one is kinda manuals. So what we do is we draw like a word, balloon like this, little tail like this. Maybe come into it and clean it up just a little bit. Alright, with a better eraser, I can connect the dots if I want. Like I'm just literally just winging it using a brush right now. I don't know if I always loved this one, but whatever and I can kinda thick can add on the bottom here if I'm want. Kinda manually drawing it in here. Let's see, that looks a little ugly when I'm that close, but if I backup, still ugly. But, you know, this can take time, right. Because you're manually doing it, right? So I might go in and clean it or I might just redo it a couple of times like re Stroke command Z, re Stroke command Z, raise stroke until I've got the perfect little bubble, right? Okay, so that's one way to do it. And then what I do is I just type in my dialogue and I type like this, right? And I can adjust the font size, I can drag it around, I can do whatever. And there's my, my Easy peasy, ugly but not so ugly word balloons, Manual style. So that's, that's how people have been doing it for ages and stuff. Not digitally, but traditionally and stuff, hand drawing, word balloons and stuff, I get red. I'm going to delete this and show you something. Cool. Okay, so the next one that I'm showing you here is the recommended one. The whole reason I want to go back on that. I don't want her disappearing here. I just want to delete what I've drawn. Alright, let's get rid of that. There we go, Even though that one circle's perfect. Okay, So I want to go sonic teenage war had to be fully utilizing Clip Studio Paint here, right? So how do I do that? Well, on the menu options here, there's a word balloon bubble. Now if you don't have this, I've said it before, come up here and go to Add from default, and it'll give you that word bubble option. Okay, So I come down here and I've got a word balloon option. In this sub tool menu, there should be a text of some sort. And then rounded Eclipse or ellipse rather curve, and then the pin. Now let's try rounded, rounded. What I've got it set for here is a bit of a rectangle with rounded edges, right? So if I do it normally, this is what it might look like. Drag it out and hit return. And that's what it looks like. You can use this for caption box, boxes, narration boxes, that kind of thing. You can even change the background if you want. Let's see you back that out. And maybe I want the background more of a narration whew, right? So I'm going to draw that one again. And you can see how that might be like. She was alone as she stared into the void, whatever it is, you're going to have that type of stuff there. But I also really liked the rounded one. If I bring around this corner all the way into more of a dialog bubble and you can see how that really, it looks really good right? Now, why don't I just use ellipse? Because I don't like the fully curve. Let's see if we can take a look at these compared to each other. Something about this versus this. This one appeals to me more. Just maybe there's a lot of space in this that I'm not loving. And you'll see once we start to add dialogue into it, that I think this one suits me, but you know what, It's up to you. It's up to you what you wanna do. Okay? So then I come down to curve balloon and I can kinda hit all the points and make this weird wonky one, right? And then if I want back to my beautiful pen skills, I can grab the balloon pen here and sketch it out. There we go. Alright, and of course, you know, I could keep bouncing it back and seeing, you know, adjusting it until I get that perfect perfect circle, which I'll never get. Well, there we go. Okay, so those are my different kind of balloon options. And you'll notice what they do is they use the front of the color here for the line color and then the back as your fill. So what this does is it's much like when we're creating panels, were creating word balloon bubbles on its own layer per se. But it's its own floating platform. You can think of it that way. Okay. So this is a little bit in contrast to when I'm drawing with a pen. What I'm doing is if you look the layers here, I'll even labeled as one cage. We're head. I'm just drawing on the same layer as hurt just like this. She's a drawn layer and stuff again and I'm just white. Let's back that out. And I'm just drawing on that same layer is hurt and it's just there's nothing underneath it. So if this if this background was colored here or something like that, it would shine through this bubble and then I'd have to fill the word balloon and all this kind of stuff, right? So instead of that, that's why I'm saying use these Clip Studio Paint, word balloons. And you're really going to be able to pull a lot off. Okay, so back to this sub tool properties and stuff, right? You can see we've got the brush size here, and that's kinda the border area. So I could make it really big and drag that away. Or I can make it quite small and draw my word balloon that away. Noodle, fill it all in and you could look over on the side here on the word balloons held there. Like I said, think of them as kinda like floating islands within this file. And you're going to see why, because they're already filled with that white, right? Okay, so we're going to back those up. The other cool thing is, let's say we put a word balloon here and we've got that. Now. We've got balloon tails. So I can drag it on over and hit return. And it now does that directional thing. There's a lot of ways that we could adjust this. So once we get into balloon tails, you'll see the width is adjustable and stuff. I get it. It kinda gives you a little bit of a preview there, how wide it is. You can have it a multipoint one. Sorry, with that polyline. Kind of drag it around if I want, right? So for that staggered one, right, we can have it to this bending, nice curvature one like that. Spline or just a straight out, straight line right to the speaker's mouth. What I will recommend though, is, you can see if I, if I started out here, there's a disconnect, right? If I started right in here. There can also be sometimes this jaggedness and if I caught it there, let's see if I started right on the right, there's couldn't be this jaggedness. So what instead I do is when I'm using these tails, I started inside the balloon there. And that really helps it. It just kinda seems to smooth and on out. So there's a lot of cool things going on with these word balloons. What we can do is now adjust them. Once I've got it set and maybe I'm liking it and maybe I'm not. What I could do is go into my options menu. And I could push and pull this for the size, right? Bring it around a bit for the location. But I can also get in here. And maybe I want this a little narrower. I want to adjust some things here. I want that a little bit slanted there for some reason maybe there's a tangent or something like that. You can make some really small adjustments in there and then bounce out of it right there. What it is is it's creating that vector style. These are all vector balloons and so they're editable once you've laid them down, right? So what do we do? How do we get into adjusting or adding text? Do not just write text. We'll talk about that later on. What I want you to do is go into your word balloon, the balloon sub tool panel and go to texts there. You're going to see it reacts different. Do you see watch what happens there? Do you see as I've got my text thing over here and it's just got to the text little icon with a little paper on it. And then when I drag it over here, it's got a plus. Over here is a paper. Over here is the plus. And this plus means it's being added onto these word balloons right there. So what do I want? Well, let's see. I actually typed something else because I'm a slow typer, so I'm just going to copy and paste off of it for you. And I'm gonna put it in here. And I'm going to paste it in. Well, that got ugly. Why did it get so ugly? Well, Clip Studio Paint is made in a certain way that it allows everything to kinda go to the border here. So if I want to edit this for how it's going to fit in this bubble. Well, there's a few ways. First thing I'm gonna do, because it tapers a little bit at the top and a little bit at the bottom. I'm going to taper it at the top. So do you see how it's a little bit narrow there? And I'm going to maybe tapered at the bottom. Let's see. I'm going to start to mess around with this. I don't like that. I might bounce back that a little bit. Widen this out to fit the bubble a little bit. Where we see kinda putting this down, they're bringing this back up. And how does that fit? Not bad. Not bad at all. I can move it away so that I've got some nice space in-between that and the word balloon. And like I said, remember you can go back and edit that word balloon and stuff right? Now. This text is attached to this word balloon. If I want to, I can move it around. And that's the cool thing is it's already bound. It's like it's stuck on that word bubble island, right? Word balloon island. And so when you use text, especially coming from in this sub tool palette, it'll add it on to that word balloon. Another cool thing that you could do is you can get in here and add another word, balloon. Now, here's, here's where it's important. If I want to add another word balloon, I have Add To Selected Layer and you're going to see what this looks like. I can put it on here. And it attaches it, right? I'm going to back it away. I could also end. This will be easier with a pen. Let's say I put it down somewhere down here. Well, I can attach it that way too. And if you notice it's all on the same layer. And that means they're going to, it's going to work a little bit together as one thing that's quite ugly. So let's see. I'll go back to word balloon. Put it down here. And then I can come in with my balloon pen and just kinda touch it in like that, right? That is cool looking. And now if I want to add more text, I do not go to the text. In my word balloon sub menu. I come over, I add. And do you see how it's popped up? Right where it should be in that balloon. And then I can add more text here. What do I want to do? Well, I want to maybe bring this down, bring this word balloon down into here a little bit, and center it. Just a little bit more there. I can play with it and adjust it. And now that looks really cool. And of course, there's a lot of things I could do. I can go in and adjust text right here. If I want to come in here and edit it, I'm like, I don't really like the spacing on this right now. I'm using letter automatic as my dialogue font. But everybody has got a font that they may be prefer something, right? So what I can do is come in here in my subdued tool details and maybe adjust the spacing of the words. Do I like that? Do I want it spaced out a little bit more, but I wanted a little bit tighter fit in there, right. And this is kind of up to your preference and how it's gonna look. When you're printing. You want to judge your book. One, it's gotta be legible. Make sure that everybody can read what you're laying down, right? But it's also gotta be formatted correctly and kinda have this pattern. So once you do have a text that you, you know what text pattern that you are generally set width like. So example, I got this letter automatic italic, font size as at seven. It's the justification that justifies in the middle here my line spacing is one-twenty. I've kinda like the settings. I'll go over here. And then I'll hit, Okay, and then I'll come down here and I'll say Save all settings as default. Now this becomes my default dialogue, and it's my default text and it just saves me time of having to reset this every time I do a textbox. Pause. Something else that's really cool here when we're adjusting these bubbles and everything is, we can do a sub tool correct line. Okay? So if I want to correct line width for an example, what I can do is maybe use those slightly smaller brush size, but somewhere on this. And let's say I want some weight on the bottom end of this. Well, what I can do is, you see how much smoother this is when I was trying to do that by hand, right? Maybe I want to have some weight on this and then have weight down on the bottom end. And that just gives a little bit of a different feeling to it. You might have to go over it a few times and I kinda like that, right? So it's thinner up here and smooth are down here. Okay. So if I wanted to, I could thicken it or I can thin it. And maybe I want to have this just a little bit thinner up here. Alright? Want that, I want it thinner through, through this connective point here. There we go. That was too thick. Alright? So there's a lot of things that I can do to kind of adjust this. And you can see how far I can back it out. It can get too far, right? So you want to find a place where it kind of works, just perfect how you like that thickness, right? Okay guys, so this is the attached version. This is how you attach word balloons onto a frame, onto a file. And if I back out, you can see how this is starting to look. It looks really, really good. Dialogue text has a lot of emphasis because I, I punched and adjusted that with the correct line width and everything right. I've got a tight sample of texts right here That's really tightly cropped, Maybe too tightly looking at it now, right? Like maybe if I this might be my view of a page or something, I think it's a little too tight so I might go in there, but this one gives that nice space around it. Too much space as a normal dialogue. But maybe for emphasis, this works really well. And if I don't like it, well, I just go into it. I start to edit it. Right? I can start to play with, and I could start to edit the dialogue. I can start to edit the word balloons, enlarging them just a little bit, and just making it tweaked to exactly what I'm looking for, right? Not bad. That looks pretty good. I think the only thing I don't like is this effect here. So maybe I'd go in and reduce it a little bit more or something like that, right? And that is the Clip Studio preferred way of doing word balloons, dialogue balloons, all this stuff and dialogue in general. Now I'm going to tell you, sometimes I don't like it because for me, maybe I'm not. So I don't know if there's another way to do it. And what I might do the other way is this. I might. So another way to do it is just this. Let's say it's almost like a reverse way. And I'm not saying you should do it this way, but what I do is I grabbed the text and then I've kinda do my copy paste and fill it on in, right? And it's all looking jumbled and ugly until I get in there and start to adjust it. You can see how I've got to do here is get in there and adjust some of these lines. But now there's also a problem with spacing, so I'll show you how to do that too. You get to this goal, that sub tool, the line spacing. You can adjust off of there. You set it out just a little bit. Okay. So what I had done was preset on my Text tool from my word balloons, but I didn't have a preset here. And so this just takes me a little bit of extra adjusting, but it's good that because I want to show you what it looks like. Maybe I've got this and I don't really like this right now. I want it more of an oval. There we go. So I've got this kinda bubble oval feeling. Now that I've got this, I might put it exactly where I want it down here. What i then we'll do is in a layer underneath it. All come in and make a word balloon. Sometimes, I don't know. It's just me, but I, my brain kinda works in this opposite direction that I like to create it afterwards. And then I can still go in and adjusted. I can still do. Let's see that rounded tail. Maybe I want to go here to here. And for some reason, my brain works better this way. I like laying down the text first and then putting the balloons under. But it doesn't always work perfectly. There's some things that people don't like about it. For me, it works great, but I still, it's still attached. It still works really, really well. I've got them on the same layer here and everything, right? And I can still come in and do this if I want to, I can still add add a word balloon onto it or something, right? There's a lot of things that I'm able to do. One thing I didn't show you though. And this can be done either way, whether I'm doing it this way or whatever, is. Remember how I said, add two selected layer here off to the right-hand side for making a word balloon. Well, why don't I move this around a little bit and I'm just going to bump it up here. And let's say this is her dialogue up here. And somebody else is talking over her. Somebody is coming in and saying blah, blah, blah. Instead. Instead of add to select a layer, I can create a new layer and add a word balloon over top of it. And you're going to see how different that looks. And now this person, I can add this text here and say, but blah-blah-blah, right? I can get in there and say, but you have to if I can only spill. And now what I can do is like, you know, play with this just a little bit. And you can see how this might look like. The next speaker is speaking over this one, right? So if I want to double-check the font, this font was a ten. So I might come back to this one and bump this one to the same thing. I want that to be at ten because I want it comparable. If anything, I might bump it to 11. Just space it out a little bit. Just so it punches a little harder, right? So that's the last trick I'm going to show you a word balloons is you can have them on the same layer. You can attach them in a stream of, of discussion, that type of thing. Or you can have them stacked on each other just like you could stack late. And remember when we talked about panels, stack them on, on each other to right. So this person does next person that's coming from the next panel or something is talking over Masonic. There's so many options that you can do here, so many different things. And I hope that I showed you a lot of them working within this word balloon. To recap though, the main thing is think of the word balloons similar as a panel or a group or something like that, like its own little island, right? So once you create it, once you set the brush size of the stroke size, that type of thing, the stroke color and the background color. Once you create it, then you could just add dialogue onto your little island. And it works that easy in Clip Studio Paint. Okay, really cool, right? Almost similar to Panels. Word in dialogue balloons have a lot of functionality within them. In Clip Studio Paint, there's so much then you could do with them. So many things that you could change and go back and change after if you need to write. So this is what I want you to do for your assignment for this unit, I want you to have a page. Doesn't matter if there's anything on or if it's just blank and have a bit of a dialogue going back and forth. I want to see word balloons and hopefully it makes sense, but it doesn't really matter. But I want you to be able to fit your text within a word balloon and be able to change the shapes of word balloons and all that and send it off to me guys, that's your assignment. Let's see if you're up for it. 23. Webtoons: You know, when I was growing up, I used to go down to the corner store, buy a comic book for like $0.30 or whatever and flip through those pages, right? That's how I grew up. That's how I make comic books. Comic books, right? But that's not my daughter generation. My daughter's generation has what is it? Let's scroll, right? She just keeps scrolling. And what do we call those web tunes? That's right. And Clip Studio Paint has acknowledged that. And now, how cool is this? They created a web tunes format. Now, I'm going to take you through it. We're going to jump on in and I'm going to show you how to lay out a web tool. I've shown you how to make a comic book, right? When we came up and we filed a new one and we had this cool little, all these features and all that. And I was like, this is a comic book and I'm excited about it and all that kind of stuff, right? Well, I'm also excited about change. One of the changes with a new update is web tunes. Web tunes are now an option. And so what you can do with your web tunes is basically this long scroll design that web tunes use, right? So we can send it our width at 69700, whatever you want it to be. And our height wall here, we've got 20,000. So if we look, we've got 690 across and 20,000 pixels down. Pretty big with two pages, 1 and 22 major divisions, right? Well, what if I want to change it? I can. Usually it doesn't always work. If I go in odd numbers, I find four or six. And this is kinda hard to see, but it's all divided there. It's got this kinda like borders going in there. And so in this one unit, I've got the height of 20,000 with a resolution of 356 pages. Let's see, I'm going to create this and see how it looks. Well, there we go, 123456. I've got my six pages here. And if I want to start working on one, why just pull it up? And now I've got my page to work on, right? I can grab a brush. Let's see. I like my pen here. And then page number one, I'm like it shows up in the preview so I can scroll down and I can, you know, as I'm drawing, I do my panel flow here and my second panel here, and I'm now another panel here. And I can kinda rough in a panel here and I look and I've got another drop panel here. And then I want overlapping panel here with one stuck in behind them and stuff. And I could see how this is flowing off to the right-hand side right. Then what do I do? Well, I open up my next page and I can see that if float here. So maybe I want to continue here and then drop down a big one here or something like that, right? I can rough these out and then go into the same way I wanted to before when it came to comic pages and all that kinda stuff about creating panels, creating word balloons and all that kinda stuff, right? So I want you to think that this web tunes as basically a comic book, but you're not looking to print. So it doesn't have that trim border on it or anything like that. It's just that top down scroll. How cool is that something to play with them? It's not for everyone. If you're looking to print traditionally, this is not the formatting you want. But if you're looking for something new, if you're looking for the new way that you're publishing quick stories and stuff. Web tunes is where is that? Okay guys, that's pretty cool, right? It's already there for you. This system is set up for you to just dive on in and create your own web tune. Now I'm not going to give it as a homework assignment because web tunes take you too long, like making an entire book or my gun. But please understand that there's a lot of options when it comes to exploiting that. When it comes to creating it, dimensions and all that. So my advice to you, look at the websites that you want to host it on, find out their requirements for dimensions, and then use that in helping you decide to create your own web. Two guys, tons of fun to be had here. I hope you enjoy this new function. 24. Materials Image: Hey guys, we're back and I've got another unit for EA here. This time we're going to talk about materials. Now. We're talking about this kind of, but not really. We're going to talk about the material assets that Clip Studio Paint has that are easy to bring into your Canvas and your creation. This sounds really strange, but once we get into it, you'll be like, Oh, I get it. Okay, so let's talk a little bit about materials. The first one that I want to talk about is the image material. So if we go off to the side here, it looks like a folder and it's got all materials and I could drop down into image materials. You can, there's a number of them that we can scroll through actually Clip Studio Paint, like it's kinda ridiculous how many options that they come loaded? Obviously, you can use any of these. You can drag them into your project and use them, manipulate them, whatever it is. There's a lot of things that you could do with them. It's up to you how these fit into your, into your piece. But what I wanna do is I want to show you how to make one. And then what you can do is kinda see, see how they might work for you. Right here I've got like e.g. my rule of thirds, right? And so if I was sketching, sketching things out a little bit and I had a stick man right here, blah, blah, blah. He's doing something. And then I add another one here. And I can, I can use my rule of thirds as, as a bit of a base, right? I can, I like this template that I've got. Not so much. My stick figures are quite ugly, but my template here. So each time if I want to, I can make this. And it'll work. Like if I if I want to, I can drag this around and put it in each panel that I'm designing. Rotate it so it fits vertically, horizontally, whatever. But it can be a pain to draw this over and over again, right? So I'm going to show you how to add to the image materials something like this, actually exactly this and see how it works. So the first thing I'm gonna do is get rid of what we've got there. Next thing I'm gonna do is come up here and hit View and go down to grid. I'm going to show grid and there's a whole lot of things happening in this grid, right? Lots of little squares. It's a measurement across I counted right now be 24, 681-012-1415, little squares across, right? It seems like 15, 14 and a bit doesn't quite seem exact. And if I don't like this measurement, well, there's something I can do about it. I can go again view and change the settings of the grid. So if I want to, what I can do is just kinda shimmy things over. Make them much smaller, make them much bigger. I can have it centered. Here's the center, right? Or I can have it top-right, top-left. There's a lot of options that I have in making a grid here. I could say the number of divisions. Maybe I can make it two. And you can see how this might simplify things. Okay? So I'm just going to have this as a grid gap, 50 divisions to whatever. It doesn't really matter. It doesn't matter for what I'm doing here. I've got this grid. This grid is invisible on the actual piece itself. So e.g. if I draw something on here and I export it as a piece, this grid is not on here, is not here unless I want it to be there. So I'm going to draw I'm going to draw my little box that I was talking about earlier. Let's see, do I want it to horizontal, vertical portrait? I don't know. Let's do this way. Okay. So I'm going to keep it nice and simple just in a box like this. So there's my, I've got four or six larger cubes in there, right? I don't like how I did that necessarily. I want to make that a little bit cleaner. There we go exactly to the line. Alright. Then if I want to, I can come in and I can do straight lines in between. I often hold the Shift down so that it can keep a straight line. And it seems to be snapping to the grid quite nicely. So here's my little my little, nothing like this has just how I would go out and draw a rule of thirds, right? Well, what do I do with it? How do I do anything with this, right? Well, I can come down here and edit and go to register material. And then I go over to image, and I hit that. Now popups going to happen here and I can say rule of thirds, something like that. And I can adjust a few different things here. I can adjust where it's going to be saved to. I want to hit in all materials here and maybe go down to image material. I can even pick sub menus and this I can make new ones if I want, but illustration will work just fine for me. Once I've got that in here, the name, how it's going in here. I can even hit tiling if I want, I can have it repeating all these types of things. I'm going to save it. And we can see automatically it kinda gave away the script there, but it popped up in my materials here. Alright, so I'm going to get rid of view of grid. And you can see how it's sitting on its own layer. Or I can just grab it and drag it over. And here's another one, and it's labeled already rule of thirds, right? Or I did this one earlier. So this is my thirds and I can bring these over. And all I have to do is hit Command T, transform. You don't drop it into whatever panel I want. And all of a sudden now I'm, I'm dealing with an easy way to kinda help me plot out rule of thirds, right? But that's not the lesson here. The lesson is how we can deal with image materials. So we can use the ones that are already built-in. As I've shown you right. Here's a zipper. Interlocking is a bourbon, and you can adjust each one. You can adjust the whole image. You can scroll down and see like how many cool different things are in the Clip Studio Paint here, right? Like all these buildings and stuff, these kind of default. I know I'm getting kind of cluttered here, but you can see what I'm talking about. Like doing up a skyline and everything. It's very, very cool. But keep in mind that these are 2D images right now. This is the image material and it's only looking at a 2D object. This is not 3D. We'll get into that later. This is understanding just kinda flat images on transparencies that are easy to drag and drop into your workspace. Okay, guys, hopefully this helped. What I want you to do is create one on your own here. Okay, So materials, we started off here with 2D materials and hopefully it made a lot of sense for you. It's something that you use regularly and want to just drag and drop as whether it's a resource or base or whatever it is. You now understand how you can use materials in your creations. 25. 3D Basics and Primatives: Hey guys, We're back and we're still in materials, but this time we're getting into 3D materials. That's right. Very cool stuff here, right? In this unit we're going to start with primitives. Not people but shapes, right? We're gonna start with primitive shapes such as a cube, a sphere, a pyramid, something like that, right? We're going to learn how to push and pull to achieve what we want to with these 3D primitives. Okay guys, So we're getting into 3D materials. And I think the first place we want to start is talking about bringing in primitives. No, not like Paleolithic man, but primitive shapes and stuff. If you've got your materials menu somewhere docked in your workspace, you can click on it that way. You can click on it here and start to find where you've got it hidden, right? If you don't have it off to the side, what you could do is just come to Window, go to Materials and then hunt for it in there. So it's gonna be in 3D. And we've got this setup here, right? So it's a bit of a drop down menu. And I'm going to see that I've got everything from body types to primitives and all that kind of stuff, right? The first thing we're going to look at as a primitive, so I'm going to click on primitives. And we can see how we've got a plane, a polygon, a cube, a sphere, all of that kind of stuff. What do I want? I'm going to drag a cube over into my Canvas. Now this canvas is nothing special right now. I haven't done anything with it. It's just sitting here as a comic book page or whatever is just a normal illustration. So you don't have to prep anything special for it. What do I have right now? I've got a square, right? But if I drop it in there, There we go. But if I take this camera or if I start to scroll around a little bit, we can see how it's actually a cube. So I'm gonna kinda move that around a little bit. And there we go. We've got a primitive or primitive shape, which in this case is the cube. There's some things that we can do with this q, but the first thing I want you to understand is the menu that's up top here. This these first three here are cameras. This camera, as you saw that I clicked on it to get things rolling, is kind of like a camera pan. I can move it all around, move it up and down below the plane, above it, all that kind of stuff. Okay. The next one is the cameras centering, basically moving the object off to the side, but I'm not moving the object. I'm moving the camera off to the side, right? And I'm moving the camera off to the side that way too. So like I said, keep in mind, you're not moving the object right now. The object itself is sitting where, wherever we dropped it into. The next one, is this. Zoom in and zoom out of the camera so I can make everything really small here. I can make it on mic. Okay. So that's the camera settings. Right? I want you to play with it for a while. Make sure you're comfortable with it. It's really important to be comfortable with all of these tools at your disposal. Okay, so once we've got the camera, now we're gonna get into the object. And the object, sometimes it seems like it's like am I moving the camera? Moving it? I don't know because seem similar. But it's not the same. If you can see right now, there's a kind of a gridded 3D plane that's the ground. And what I've done here is I'm moving the object around on this 3D plane. Okay? So on this first one is just a free movement where I can go, right? And right now I'm going to stick it on the plane. Sorry. On the plane right there. I can move it above the plane so it's hovering. I can move it below the plane. So you can see, and the way to see that as one seeing how the cube interacts with the plane, but also seeing how the shadow is interacting as well, right? So I could stick it up there. I can move it all around. Okay? And right now the plane is going to adjust to it a little bit. Okay? There we go. And there we go. This next one is going to be a rotation on an axis, right? This next one is rotating on a different axis and there'll be a better visual coming up for this. I just kinda wanna show you what's going on here. This is the spinning on another axis. And we know that these are x, y, z axis. And this one is actually weirdly, it seems really weird because it jumps a lot, right? But what this is, is moving it backwards in this scene and forwards in the scene. So sometimes you going to need this if you want to play something behind another object or something, right? Otherwise, if you're just doing it for an illustration, you can sometimes manipulated with size and placement and that type of stuff. The last one here is this snap. Okay, so when we're using this and we're bringing it around, what this is gonna do is it'll snap it to a line or a snap it to when we have other objects in place, when we bring in other primitives, e.g. okay. So once you've got the camera and you've played around with it a little while, then you get the movements and you play around with them for a little while, then you're ready to move on. What you can do is head on over to your tool property. Like right now we're in operations and we look down into the tool property, which is an object. And then we can start to mess things around a little bit if we want to. The first thing I like to look at is the number of divisions. So I can kinda slice it up that away. Slice up the, slice up the Y, slice up the z. Now what does this do? Pretty much nothing. It doesn't do anything to it. It's a visual only when I'm doing right now, in my mind, actually what I'm thinking is I'm going to create a bit of a cityscape. I want to draw it, right? And so I'm going to use some of these simple primitives to maybe make a bit of a city block. And that's eventually going to be what I'm going to ask from you. So sometimes having more of these divisions on my primitive, it helps me for drawing in Windows or just land marking things, right? When it comes to doing that on a sphere or prism, the more divisions you'll see we'll start to shape it. For cubic doesn't do anything, but you can imagine that the more divisions on a sphere will make it more into a sphere, the less of them. Well, it'll be less of a sphere. The other thing, the other thing is, another way to edit is to click on your object. And you will see something amazing. Pop-up, this huge multicolored menu, right? This, for the most part, mimics what's above. There's a few different ones that are added to it, right? But you can see that I can move it back and forth along that axis. I can move it along that axis. I can move it along this vertical axis, right? Okay. There's a lot of different things I can do. I'm going to put it grounded there. And hey, if you're ever not sure about how to ground it, like let's say I've got a floating right now and I want to bring it down to the ground. This will drop it. This will drop in to that ground plane that's been programmed into this layer. It also use this one as just the free floating. What if you don't want to skim across a certain axis? Okay? So I'm going to drop it there. You can do these and swivel. And like I said, instead of the menu that's up top, I prefer this because I get to see which plane that's moving on and everything right, I get to kind of figure it out a little bit better and stuff. For me, this is this is the way to go, but not for everybody, right? Like they don't like all of these tool pop-ups and everything right? Here's where we get into actually editing the shape as well. I see these kinda cubes that are on either side of it. These mimic primitives, well, if I push and pull, there you go. I just adjusted the width, right? So the red ones in this case are adjusting the width. This is adjusting the width this way, and this is adjusting the height. So let's say I want to make a building. Well, there we go. I just made a bit of a office building. Right. And I can back it up if I want a little bit and maybe move it on over this way and set it on this block, right? So what do I wanna do? Well, I want to make more of these buildings, right? So I'm going to click on this and I'm going to copy it and paste it. And then move it off to the side. And now I've got two. But you know what? I don't want to like, I don't want to have the same one. So what I'm gonna do is I'm going to shrink this one down. Maybe make it a little bit narrower. Something like that, right? I don't want a carbon copy. Well, I do. I'm like I just literally copied it, right? But I wanted something different, right? So I'm gonna do it again and I'm going to copy and paste and I'm going to drag one over and place it the same spacing in between these buildings. Maybe fattened it a little bit, maybe make it a little bit taller. And there we go. And I could change if I really want to. Like I said, these divisions doesn't they don't really matter right there just for reference sake. I could throw a lot more in here if I want to make sure that I've got what I want for the windows or perspective that I'm using or something, right? And now we can see if we take the camera and pan it around while I'm starting to make a block here, right? I can zoom on out. I can zoom on in. And you can see how this could become really, really cool. This is an easy way to use primitives. Just to plot out your scene, right? There's more that you could do with primitives and I'm going to show you that coming up. But using these I find are an awesome way to plot out like a city block that you might have Spider-Man or something like that swinging on through. One other thing I want you to do is coming over to the Object menu here, and you're going to see a little eyeball and the cube selected here, dropped down, drop down and see what's available. There's cameras, there's ambient light, and I'm gonna get you to ignore this for right now. But I want you to select while holding Shift and select all three of them. Now, when you move them, they move in unison. So let's say I want to move this block up or move this over. Well, I can do it that way, right? Maybe I want to rotate this a little bit more, seems to be a little bit off. But they all rotate at the same time. So maybe I don't want that right now. What I can also do is because I've got them all selected. I can copy and paste. And now what did I do? Well, I just created more with that exact same spacing, right? How cool is that? That's how quickly you can make a city block or building blocks or steps or stoops, or anything that you want to help set the stage for your illustration. Okay? Cool. 3d can be a little tough. Some of the navigation of it can be a little tough, but take time with it. I want you to take some time and get really comfortable with your navigation options within the 3D function, right? Here's your assignment. This is what I want you to do. I want to, you, as I showed you in the unit, to create a bit of a city block like a New Yorker, something like skyscraper block. I want you to export it, take a picture, whatever it is, and send it to me. If you want to draw Spider-Man swinging from a building, I'm not going to object. Mode. I'm not asking that from you. What I want to see is that you can have a number of primitives in a row that are aligned in the way that you want them to be and that you have control over that scene. 26. 3D Figures: Hey guys, We're back and we're doing more 3D work this time, we're going to work on figures and how to move them. The articulation points, and how to shape them and make them bigger or whatever it is we need to do with them. That's what this unit is. Four. Okay guys, we're back and this time we're looking at figures in 3D. I'm hoping by the time you're, you didn't just skip ahead and come to this. I'm hoping you spend a lot of time with the primitive shapes. The more you get used to the 3D functions, the menu options, all this kinda stuff. The less it will be an impact when you switch into body types like using figures and stuff, right? So without further ado, we're going to do the same thing. We can either have it open in our materials menu here, or we can come up to the top window, drop-down materials and go 3D. Once we go into 3D, we can look around and there's a whole bunch of different things you can have depending on your menu, you might have other things. Shape is saved there, depending on your version and stuff. But generally speaking, there's gonna be a body type. Once we get into the body type, we can scroll down and you can see I've got a few some that I've saved from before having a kid and power lifter. And I'm going to show you how to save body types a little bit later on. But usually you'll have some default. You'll have one or two or three. The newest ones are these ones that kinda look like the ones up here. Okay. So I'm just going to grab this and I'm going to drag it onto my canvas. Now again, my canvas has nothing special. It's just a normal illustration Canvas. It's got nothing to it. Okay. There's nothing going on there. Like, I mean, I don't have to prep it. I don't have to do anything interesting for it. Okay. If we look up at the top bar here, we've got a lot of the same things. We've got this camera, right? And we can pan it all around. We can see how that 3D fluorine comes in and nice little shadow to give us some reference there. We've got this camera that actually doesn't move the figure again, it just moves the camera shifting off to one side or another. And we've got this, zoom in and out. Let's see if I can do that a little bit more properly. So what I wanted to show you here was actually not what I was just doing. Here's the zoom in and out. Then what you could actually do is there's a bit of a warping. If you scroll, There's a way to warp the perspective, okay, so depending whether you're using a mouse or a trackpad, you're going to have to experiment with this a little bit, but there's a scrolling. I'm guessing on the mouse, I'm using a track pad right now. So for me it's a two finger scroll. But for you on the mouse it might be the wheel scroll. And you can see how this gives this lens effect. And then we get into our moving to figure up and down and around, rotating the figure around, rotating on different axis and everything. We've talked about this a lot for the primitive. So I'm really hoping that you've done your work now that you feel comfortable with these menus up here. Okay, so that's kinda review from our primitives. But if it wasn't, if it's not reviewed, spent some time because it is so, so valuable. So just like our primitives, there's some things going on within our figure here. You remember the primitives, we can have more divisions and adjust the shape just a little bit and all that kind of stuff. Well, we can do a lot of things with the figure here. I can just hover over it and you can already see there's body parts, right? Like everything from different parts of the hand here. The forearm, the upper arm, the shoulder and scapula, the torso, the neck, the head. Alright. And you can see as we go through it's all those points. I'm going to click on this and just see what it shows me. Now just clicking on it once, anywhere on the body, brought up this menu for me. What this is doing right now, this menu that's in front of us is really similar to what we have up here, but with some added options. So I've got the, if you remember, I've got the enlarge and shrink like we had with the primitives. We've got the rotation, right? We can pivot him back-and-forth to the Michael Jackson. Lean a little bit. We could turn them a little bit here. We can move them off to one side or another. Okay? So this is really super similar to the primitives, except we don't really have a make them wider and make them thinner type of thing. Not yet. We'll get there. One thing that this does have is these kinda push poll articulation points. This one off in the space is where the head is going to be looking. This is all designed to make it a little bit easier for you to pose. There's ways that I'm going to show you as we get into it. But yeah, you can just drag the head around this nice little sphere off. Aside there, you're going to have the neck, which is not just the neck. Notice how it pulls everything adjoining to it. You can have this hand which moves all around as well. Remember, we want to move the camera a little bit to make sure this is going in the right direction. We want it to maybe I wanted to put it back here and stuff, right. I might talk that thumb in later if I want to have this bringing out and you see how things kind of snap. See I did what I was doing there was I wasn't quite grabbing one of these points. I was grabbing just this and forcing it. And there was that snap that happened. Right. And that's okay. Instead of grabbing these points, I'm going to show you what I can do instead. So I can rotate this out. Rotate this back-and-forth, rotate this, this is interior rotation versus exterior rotation of the shoulder here. So this gives me even more options of what I wanna do. I can do the same thing down here. I can come down here and kinda elongate the arm and just kinda play with it. It takes a while to get some poses that you really like. Like I said, you can kind of push and pull into where you want it to be and then come deeper in and do it exactly. Maybe where you want that you don't want that thumb to go behind maybe or something, right? That thumb's gonna just rest behind. But see if that works. Another thing you could do for the hands is if you select the hand, e.g. if I'm just selecting this here and I come over onto the side menu here and I hit pose. It's going to give me some hand options. Okay, I can move it around all within this. It could be totally open and splayed, and then down to a closed fist. I can, There's some presets that I want. Alright. I got a lot of movement if I really want to, what I can do is I can rotate it out, zoom in, and I'm just going to move the camera over to where I want it and actually pick each finger if I want and start to rotate that finger here. Let me get a better view of this. This is not what I'm wanting here right now. This is where we're getting used to the the menu options and everything of like having everything very comfortable where you want to be. That type of stuff gets really handy. So here's a finger if I want to, I can move it just a little bit that way. I can move it just a little bit this way and it just has a little wiggle that way, but then it has that huge bend this way. Right? So I can have like one finger in one finger, semi in this finger, broken. Like, there's a lot of options you can do. There's a lot of things you can play with when it comes to posing. Whether you want to do them individually or whether you want to do them both simultaneously. So e.g. if I have no hands pause right now and I start to rotate on here, you notice how they they've got them both acting together, right? If I want to just have one responding to this, then I'll come over here and do it this way. Sorry, got to select that first. There we go. There we go. Right. It can be a little finicky sometimes. That's why I say it takes a lot of practice. This using these models is not for everyone. There are a great resource, but you really have to spend time with them. And once you do, you can really have fun with it. You can twist and turn. Have a lot of different things happening here. I have a little bit of a bend, have a little bit of the chest puffed up. There's a lot of cool stuff that you can, you can do with your character here. Now another thing you could do is down on the menu down here, there's a lot of different options. We'll go through them a little bit. Some of them are a little bit overlapping. So e.g. this wrench will give me a lot of the options in that we pulled up. You're off to the side for our tool object, right? The camera. This is a quick one. That'll just give me these quick shots. As if the camera is already been adjusted to exactly where I want it to be. Like, these are just nice quick framing shots, okay? This one here will center the object. It'll bring it exactly centered in the Canvas. And if I want to, I can kinda expand the canvas a little bit. This one, and we've talked about this one before. This will ground the model back onto the ground. And it depends. Occasionally I find night after I've adjusted a bunch of things, I've got the guy floating. So I like using this. This one here will register the full body pose as material. And this is what we're going to talk about this in just a little bit about saving these, okay, so I'm going to skip this for a moment. We can use different things on the menu here for flipping the canvas or flipping the figure vertically, horizontally, those types of things, right? This one will revert it to the default pose. I don't wanna do that right now though. The pose that I get when I drag it on in this one, we'll reset the scale. I hadn't really adjusted the scale, so I'm not worried about that. And the model rotation sometimes, you know, like I, I get myself to twist it up and when I'm doing those rotation on the axis, so this is a nice one to have. And this will save the body type. So why don't we talk about body types for now? We haven't really gotten into modifying this body tag. This is still the figure that I dragged over from the side, right? Why don't I hide this, give myself a little bit more space here. Yeah, we haven't done anything to worth saving his body type. So now we're going to, we're going to come to the end of this menu and adjust the body. There's a few ways to get into this, but this is the easiest one off this hot key off this menu. And you're going to see here is the initial body type, so I can revert it back to that body type. There's my body type. It's good to go. It is what it is, right? But now I've got a few things that I can adjust here. I can adjust the height. So if I want them taller than the person standing next to them or something. One thing you will notice though, as I adjust the height, and this gets a little hanky is it goes from a little bit childlike with the enlarged head to almost attack on Titan type blue giant. Ask, right? So what this is actually doing is it's adjusting the body height, but it's messing with the proportions, maybe a little bit more than I want. So it's okay to have this, but let's, let's keep that for what it is. Here's the head to body ratio. This is something that I can adjust. So let's say e.g. I want to make it a more childlike figure out how to work with TB, right? I can get this hedge large or I can reduce it to normal. Actually, I got a bit of a fat head, so that's probably normal for me. And then more superhero S, right? And once we get into all of this stuff down here, you're going to see what's going on, right? I've got a neck that I can now make. Almost draft like I can take away. Alright. I'm just using the slider to thicken it. It's thin it, that type of thing, right? So let's, let's try to make a bit of a superhero. So we want a little bit of a long neck, but not chiral fish, right? We want broader shoulders. Broader shoulders, or a good superhero, alright? We want a thicker trunk. Starting to get obese looking. Well, that's kinda toll of a trunk. But I do like a little bit of a thicker trunk here. I'm not I'm going to adjust this so I can see it is a little bit twisted up here. Why don't I twist them back? I want to get in here and just adjust this back in. There we go. I like to look at them straight on as I'm making some of these adjustments here. We've got those wide shoulders already. The arms, the arms are not just the arms, but it's a bit of a thickness through the shoulders as well. You notice when I'm if I thin it out, the shoulders get ridiculously slender. Man's can be. So I can thicken it out here and it kinda goes through the shoulders and the arms. Okay, so I'm gonna make them beefy that way. You can make them shorter stumpy T-Rex or longer alien ask. But I'm going to keep them the general length. I just want them to be thick enough, right? I'm making a superhero here. Hey, the pelvis do I wanted a wide hip or a bit of a narrow hip? Honestly, I think it looks freakish when I adjusted too much, so I'm going to keep that at that medium length, right? Well, let's see. I'm going to pull this over here so I can make it a little bit better of an adjustment here. The lakes and now same thing I can make them skinny legs like me when I don't do leg day or I can make the thicken them up a little bit. I can make them shorter and stump here. And you notice how as I'm adjusting this, it doesn't really impact the rest of the figure. I'm just adjusting legs. Right. Okay. So I like a longer upper body to lower body ratio, generally speaking, right? So I'm gonna go with a bit that looks too much. It's just I don't want to bump too much. I just want just a hair. There we go. Feet. Don't want them longer or shorter. Little bit bigger maybe. And hands just a little bit bigger. Here we go a little bit meatier hands. Okay, so now I'm going to get rid of this patch away. And that is my slightly larger, more heroic figure. Actually know what the head, maybe I want to get in here and adjust the head. One thing I didn't show you was with the head. You can actually make it fatter, bigger or anything like that. But you can make it fatter or thinner. I think I want it to be just a little bit thinner. Here we go. Okay, so now that I've got this, I've learned how to adjust my shapes and stuff again, just the body proportions within the limits of Clip Studio Paint, right? There are some limits here. We can go to hawkish to be steel or anything like that. But we can kind of play around with proportions of men and women and that type of stuff right? Now what we can do is come down here and save body type as a material. So I wanted to save this and I'll say super, seems like a super guy. Do I want to have an image material? You know what? I don't know if I want to or not. But one thing I can do if I want that is I'm going to get rid of this and just take a quick screenshot of this. So now I've got a quick screenshot of that. And I'm gonna go back and save it again. This is what I like to do sometimes. Okay, So I'm gonna go back and call this super. And then I want the image to look like I've got it. Where do I have that? I've got in my Dropbox. But I my screenshots, most recent screenshot, I open. There we go. That's what it looks like. Where am I going to save it to all materials? 3d, body type. Okay, everything looks quite good. I'm going to save it there. And now I have it in my body types. I've got my super guy. He's now if I ever want to, I can just drag them in. And you can see that you can customize a lot you could do from heroic female children. And you can start to drag these little guys in here. Alright? There's a lot of different options that you can do here. There's a lot of things you can play with. You. You'll find that depending on the version you have Clip Studio Paint, some of them are better than others. I don't always love some of the older ones, but a lot of people have spent a lot of time customizing really good figures. The thing that I skipped over back here, remember how we decided to, what was it saved the body type, right? Well, we also have to save the pose. Is this pose worth saving? You know what, I'm going to say? Yes. I don't know. We'll get into better poses and just a little bit here. But I'm going to say yes, I want to save this pose, right? So it's a new pose and I'm going to call it one on. One arm works and I'm gonna do the exact same thing, come down into my screenshots, add a screenshot I already did because I'm being cheap on this and put it in materials only this time. It's gonna be 3D. And I'm going to scroll down into pose. And I'm going to save it into poses. Now that brings us to how to pose. Now I told you how to do it manually, but I want to show you some other things here. Have I actually come into my materials 3D menu here and go to pose. I've got my one arm sitting there, right? So I can drag that over and it put it on this guy. But there's some interesting ones that are already preloaded. Let's see. What if I do this arms crossed? Just drag it on the figure. There we go. What if I do a neutral stance and drag it over? He went behind, Sorry, I didn't quite drag it on the figure there. I guess it can be a little finicky sometimes, but here's the thing. This neutral stance was maybe designed for a certain body type. Although we can say that any clothing or any polls can be pulled off by any body type. It kinda cat. In 3D, you might have to adjust the arms a little bit to get it to hit exactly where you want. So keep dragging over poses and just seeing which ones work for you. Some of them are created online by others, right? Some of them won't. You do them yourself and can save them up and look this good, right? Okay. And then I'm gonna go back to the one that we just did together and drag it on over. And there's my one arm pose, nice and standard. You can create poses. Clip Studio Paint has a lot of presets in here that it can also help you. Once you have a pose, doesn't mean you can't adjust it from there, right? Maybe I want something more. I want to lift this leg just a little bit. Grabbed his arm instead. I'm sorry, my bad. Maybe I want to lift that leg just a little higher. Alright, really push, push that kick, right? So there's a lot you can do within this. Like I said, once you've got opposed down, if this is the kick that you want, you want this one come into the guy's head or something like that. You want to bring it up. You come down here and you hit Save. And you don't always have to take the screenshots. It's up to you. It just kinda does this generic looking know silhouette thing if you don't. So it helps if you've got that reference, the one-arm, I think it looks prettier. I think it's a better way to go and it's a better way to organize yourself. So if you can maybe do a quick screenshot or a quick screen grab, and that might help. One thing that Clip Studio Paint has added over the last little while is this pose scanner technology? I have to say, I'm not always in love with it. It's not the most beautiful thing in the world. It has its moments and it can work sometimes, but it can also be pretty clunky. I use it as a base. So what this is, is, when you click on this, there's another way to get at it if you want, you can come down to, I believe it's File Import, post scanner, but the hot, hot keys right here, right? So post scanner technology. And what it does is it grabs from a picture. Let's see if I give you a better look at this picture. This picture I have of Superman. And what this is going to do is hopefully import this picture of Superman or dispose of Superman rather onto this figure. And that is trying to close. It's not the greatest, but it kind of works. Alright? I can also see if I scroll down and see if I've got any saved, you're going to find that it's a little finicky for some things. So e.g. here's a picture clauses. It's just that standard marble Handbook of clauses. And it's going to say it doesn't detect a human. Sometimes drawings don't work. So then what you can do, and let's see if I I'm sure I've saved some somewhere here is take a picture or use actual people. So here's a boxer striking a punch, and there's a box or striking a punch. So this post scanner, I think it's great, but you know what, maybe you want to punch it just a little bit further. You might want to adjust some things. Have the head tilted up just a little bit or something. You can play with it just a little bit. And then of course, you know, come into the hand, make that fist, right? See if we come over into the pose here. We make a closed fist. There we go. And now it started, why don't we make a fist on this guy to Right? Now it's starting to look a little bit more like that punch. Use this post scanner technology as just something to add to your arsenal. I would call it a 5050 split, whether it will work for you or not. Okay. I think sometimes it looks okay. And then sometimes I'm like, what the nowhere close to what the picture was shown me. You can even take pictures of yourself, upload them and see if it'll take a little bit better. I find it does work better with photos. The clearer the photo, the clear the outline of the figure. Like it could be nudes, but like swimsuit type of stuff. It'll show up better. But it's still is just a starting place for your pose. You're going to have to get in here. Work the tools, work, the pivots work, their points of articulation and all this stuff. Make sure you're really familiar with posing or 3D model. Well, what do you think? 3d figures and Clip Studio Paint. Not easy, right? There are some things that kinda get a little disjointed, little stiff and awkward and stuff, right? Things can get a little hanky with the figures. But there's a lot of potential here, right? There's a lot of things that we can do with them. So this is what I want you to do. Create a finger rabbit based model. Push and pull it and morph it into something that you think is a little bit original looking and then send it my way. I want to make sure that you have confidence working with this 3D figure. 27. 3D Manga and Lighting: Hey guys, We're back and we're still working in 3D. This time we're doing something pretty cool and Clip Studio Paint. We're going back to its roots of it. I don't know if you know this, but the original name for Clip Studio Paint was Manga Studio. That's right. It's based out of Japan. And it was based out of making manga comics. Right. Now I lived in Asia for half my life and I loved growing up reading these comics. There's something they do in these comics and there's a few different functions that they do, but one of them is really push boundaries, right? So with 3D, in this unit, we're going to work on a little bit of these tools that they add in here to really push and pull. To make comic making and make these characters a little bit more fun. Let's check it out. Something else I'd like to add in here is this thing called manga perspective. Okay, so I've got my boxer opposed up here, right? I'm going to de-select that belly. I've got his hand posing, but he's not really imposing, right? Like, no matter how much I can move it around, I can kinda adjusted, I can bring them closer and stuff like that. It's not the most imposing shot. Like it's good, it works. It's fist is coming at the viewer or something like that, but it's not the most imposing. So what I can do is come off to the side here and click this manga perspective. You see how as soon as I did that, what happened? The fist got a little bit bigger. Right? Well, what if I push that even more? There we go. If you look what that is, is it's that warping as it comes towards the viewer, right? It's that lens lensing effect that happens. And I love it. It's something that's really great for if you're trying to have that impact of wall art, right? Like you know, that foreshortening, things are larger as they get closer to you. Take it, take it away again, and see how that is. And how amazing it looks when it's up close. And right below it, I wanted to throw this at you is the light source so we can take the lighting away and it's just line work with some contours. We can add the lighting in. We can move the lighting around a little bit and adjust the lighting so it's straight overhead or it's right in front or something. We can change the lighting color, make it a little bit reddish or something and see if that helps us know if I like that though. More of a blue. There we go. So we can see it's a little softer that way. We can change the ambient light if that's better. So that gives us a nice hue to it. Alright. So playing around with the lighting is important. You can adjust these sliders to see how overblown it will go for you. How much of that ambient light as powerful or not, right in that bounce lighting. And just see what it works for you. You might be wanting to use this figure in and of itself as a figure, or you might be wanting to export it as a JPEG and then use it as a drawing reference. That's up to you. Okay. What do you think we did some lighting editing. See if I can do this. There we go. I'm editing the lighting here. We also did a lot of cool stuff with the Mongo setting, like being able to portion distort the perspective a little bit, right? Have fun with the guys and what I would love it if you did it, send me a screenshot of some character that's really pushed out there. That looks funky. Send it to me. 28. 3D Animation: Hey guys, In this unit we're still working within 3D, but this time we're moving into animation. That's right. We're starting to move things around. Alright. I guess that's my symbol for animation movement. It's tough. There's a reason why, like animation studios are considered like not sweatshops but workhouses. Animation is not easy. But if we use the 3D tools that Clip Studio Paint provides, maybe we can make it a little bit easier on ourselves. Let's check it out. Okay, So now we're getting into animation. This can be pretty tough. Animation is not known to be easy traditionally, or with 3D or anything like that. This is not going to be the easiest unit that we studied through together. But it's an important feature of Clip Studio Paint and kind of funky. Like it's fun to play around with fun to get into, and maybe somebody's passion. So let's take a look. The first thing you're gonna do is create a new file. Instead of the normal Canvas illustrations, comic books out where we normally do, right? We're gonna go in and create an animation. Okay, so you can see here, you can change the dimensions, the resolution's, a lot of these things are very similar to what we've encountered before, right? We can also set the frame rate, which I'm going to leave for right now. We'll leave the frame, frame rate unless you have some very specific reason to change it, right? Well, you can see how there's a lot of options that we've got, right? Okay, so we're going to create this new file. And if you notice it's the same as my old file. We've got an animation file here. One story, right down at the bottom. We've got this window that is timeline. Usually when I'm doing normal illustrations, this is not here. I don't want this here. It just takes up more real estate on my screen. But when I'm doing animations, I want this in here. So one way to get rid of it or added in is to come to your Windows and either get rid of it or Window and timeline. Just like other functions and little tools that we have in Clip Studio Paint, you can pick it up and drag it over to the side. You can have it as a sidebar, you can have it condensed. You know, there's a lot of options that you have. I like it on the bottom here, because just in my brain that horizontal layout just makes a lot more sense to me. But attached to where you want. Okay? If we look when we create a new animation folder file here, a new innovation project, the folders are a little bit different. Right away. It creates it with a normal animation folder that wasn't here in, obviously in those other ones because they're not animations. And you can't go back and create them in there. Okay, This is just how you do it for, for an animation style file. Okay? So I'm gonna teach you how to use it. That's what this is about, right? But I'm going to teach how to use it using first 3D model. So instead of adding a 3D model into this animation folder or anything like that, I'm going to create a new, a new file or a new layer above it and just write base or not. Why don't I do model instead? Model above. Okay? So I've got this model here. And well, I don't have this model here. I've got to add this model. Okay, so I've got a body type, body drawings. Female. Let's let's do this with a female is time, right? Okay, So I'm going to drag it on in here, and I'm going to shrink this off to the side. So now I've got this female in my, in my screen. It's nice and full full body, whatever I can adjust whatever I want, but move it around to wherever I want. I'm going to zoom it in because I just want the torso right now. Actually made zooming out a little bit and never crop at the hands. Crop mid thigh there. Okay. So I've got my, my character right now. This is a 3D drawing figure that is not on my animation folder, right? This is totally separate. Okay. This is where the tedious stuff starts to come in. What I'm gonna do is on my 3D drawing figure layer, I am going to duplicate it. So I can either go up to layer, new layer, duplicate layer and do it this way. Or these are one is basically right on top of this layer menu here. Drag it into this duplicate, duplicated new raster layer. Okay, so just dragging it on their new raster layer, duplicates. Okay, but you can see it's still a 3D drawing. I'm going to turn this one off. That's duplicated one and go to this one down below. So my first one, my first base, is just that straight on looking one. I am going to now right-click on it, double-click depending on which system you're working on. And go up here to rasterize. And what this is going to do is take it from 3D, a tool that I can mess around with to 2D. This is now a flat image. So if I want to e.g. I. Could come onto it and I can just draw, right? I can draw away on that layer. This is now just a flat layer. And because of that now I can change the opacity and do that type of thing. Okay? So now I've got this flat layer and I'm going to change it to about 50 there. And I'm going to turn the one on top off, back on. Again. Like I said, this is tedious and you'll see how this works for awhile. But let's see if it does what you want it to do. I'm gonna go back to that 3D. Make sure I'm on my operation tool. Right? Click on the head and turn the head slightly and slightly. For this animation, I'm just going to focus on the header just to make it not simple but simpler. Okay? So now that I've done that, I'm going to again drag this over into Create New Layer. And I'm going to create another, going to turn the visibility off on that and off on my first one. Go back to this one and hit rasterize. Okay, so now you can see, if you see here's one, here's two. Turn, right? And I'm gonna do the same thing here. Drop this one down to about 50%. Now you see why those animation guys get paid the big bucks, because you're basically tweaking each one. So I'm going to go back into the head. I'm going to turn it even more and turn it more up. And I'm going to rinse and repeat this process. I'm going to drag this over, create a new layer, turn that off, come back here and you start to get pretty quick with this rasterize. Dropped down to 50%. Turn it off, Come back up if you want to. And I've already shown you how to do this. You can. What you can do is create an action for this. You can create a bit of an action. Doing just this, not the posing of the model. The action will not do that model. Okay? What it will do though, is all of this stuff. So as you can see, this can get extremely tedious, right? This is why animation takes so long. So well-paid. No, it's not. It's not that well-paid. But it is a respected craft. I do respect animation artists and stuff that you're going frame by frame by frame. Doing this again and again and again. And it's super tough and super easy to mess up your occasionally you'll get muddled in which state you're in and stuff like that. Just try to remember. That. Don't worry, you can backspace out of it. You can, you can clean yourself upright. Does get confusing though. And so maybe doing that, that little bit with the making and action might help you a little bit. It might not really depends on what's going on here. I'm going to start to I've been moving the head a fair bit, right? I'm going to start to move the body a little bit here. So I'm gonna come in here, do the head, one more. The heads up. So the body is going to start. There we go. So what do I do? I copy it. Hide that coming over here. Rasterize, dropped to 50 and rinse and repeat. And you could do this depending on the version you have. For Clip Studio Paint. You can do this. Again, depending on the version. You have. A number of different times, right? If you've got the cheaper version, it there'll be some limits to it. But what do I got here? 1234567. What? I don't want to do. One more here. Have it Eight. Turn that off, come here. Rasterize. Dropped to 50. And make this maybe my last one. Yeah, this being my last one. I want a bigger turn. Maybe I'll turn the neck just a little bit to you. Obviously. You can work however much you want to do into this. I'm just working. I started with the head, the chest, the neck, but that's not the only part that moves on a body, right? So now I'm going to, this will be my last frame for this. You know what I'm gonna do just in case I ever want to do more on this. I'm going to duplicate it out as a 3D model, but I'm going to stop and just use this last one, rasterize and 50 per cent. So what I'm gonna do here at now is I'm going to select all these ones that I've got that I've already used as kinda flat images, right? And drag them down into my animation filter. Okay, if you come down to the animation timeline here and click on your animation folder, you're going to see you've got a number of different drawings in there, but in the actual timeline itself, in these slots, there's nothing visible. So what you wanna do is come to the first slot, right-click or double-tap depending on your device, and go to your first saved one. Let's remember our first picture, right? That's my straight on one right. Now I'm going to come to the second one and right-click on it. That was the wrong one. I want to come into the second bar and right-click on it. And it was my coffee, it was my first copy. And then the next one is gonna be number two. Number three. Number four. Oh, see, I mess up somewhere in my naming system. I messed it up but that's okay. I can see it just as it's on the screen here and I can adjust right. Some are three. It's in the correct order in the sequential. But something I did in my naming system didn't quite work. So I want you to be aware of that as you're adding them in. Five. Right-click. There are six. Torso starts to turn, and there's seven. Now if you look as I scroll through each one of these, it should have this turn right? Turn, Turn, turn and tilt. Tilt, turn and tilt. Turn, torso, turn torso and neck, and turn. There we go. So that's in the correct order. You just want to click through and make sure you've got them all down in the right order. Now, sometimes this last frame here, this blue border, will be way out here and they kinda gives a gap. If it is, if that's the way it's set to just drag it on back and made sure that it's clipped so that it matches your the amount of frames you've got in here. I've got eight frames, so it's clipped at that point. At this point, if you want to come on over to the Play button and just kinda move it on over there and you can see that she doesn't look healthy. It's so short, but it works right. This button here, we will have it on loop play or not. You can play once. Lookout facet is super-fast, but it's a perfect animation. It moves exactly as a figure would write as somebody turning their head would. Okay, So this is how you align it in with whether you have eight cells, 16, 24, 30, whatever it is, you can keep on adding, like I said, after I added these eight. And I can have that 3D model and just keep on adding them, right? I can keep on adding to this, grabbing this blue, putting it at 25 if I want, and having room for much, much more. It's up to you. This is the first section of it. This is what I want you to do. Be familiar with bringing in a 3D model, making some small adjustments, rasterizing that. And then going on to the next layer. I know the steps are awkward. I know they're a little tough. Welcome to animation. What do you think? Is 3D animation easy? No, I wouldn't say that. But I wouldn't say it's that hard either. I think there's a lot of potential to be had here. So this is what I want you to do. I want you to make a 3D animation for me. I want you to send it to me. Now it can be just that swivel. It could just be that swivel around of the camera pan. It could be doing something like this, animating the hand. It can be a movement, whatever it is, but send anywhere 8-24 frames to me and show me that you have a bit of confidence in animating in 3D figure. 29. 2D Animation: We're back and we're still in animation. This is tough. Animation is not easy. This is going to be even tougher because we're switching out of 3D into 2D animation. And that's where everything gets hand-drawn. Scene by scene by movement by scene, right? It's not easy. But what I'm going to teach you in Clip Studio Paint is how to use 3D. Help you in your 2D. Let's see if that works. Okay, so the next step in animation that we're gonna do here in Clip Studio Paint is 2D animation. But because we already started with 3D, we're going to combine the two just to make it a little bit easier on my brain. Angeles. Hopefully. We'll see. Okay, so we've got our previous little animation of the head turning from last unit. And I'm hoping that you didn't just toss out this file or anything like that. But if so, we do have this or have something like this that you could work with. Okay? What we're gonna do here is create a new animation folder. We've only got this one animation folder that we have for our 3D turning head torso thing, right? So what we're going to come down to this bottom timeline here, and it says create new animation folder. I'm going to create one above that. Okay? If I wanted to, I could rename it. Let's call it hair. I'm gonna get adventurous and do some heritage. You can see on the folders that the animation folder here, if I wanted to, I could write figure. Figure has eight slides, hair has zero slides. Okay. That's what I've got so far, right in here. While I'm on here, I'm going to come down not to create new animation folder, but to create new animation. So I've got a new animation cell. Okay? And yeah, I think that, that looks pretty much how I want it except I might move it. I want it to move over. So you can do one of two things. I was on this frame, that was number two when I created this new animation cell. And so it created it in frame number two. Now I could go back into frame number one here and create a new animation cell there. Have it in there if I want or if I want to. And this is something that you might want to learn that you can just drag a cell and move it around. So sometimes you want to switch the order of cells or something like that. Maybe something got mocked up, right? You can drag the order of them over here, right? So I'm gonna go through, and I'm going to maybe go in each one and create a new animation cell in number two, number three, number four, number five, number 67, and number eight. I just created a new folder and that's not what I wanted to. I dragged it in the wrong one. Number eight, I am. There we go. Okay, so I've got eight animation cells matching up with my eight down here. What am I going to do with it? Well, on the first one, the one that's staring me right in the face. I'm going to grab my husband handy, Ed's pen here. And I'm going to draw some banks, some very ugly banks can have this split around that center line there. Some jaggedness that wasn't so pretty hair might erase this just a little bit. Have it with the form of the head. There we go. Behind it. Have the back of the hair coming out, right? And maybe some wispy little tassels going down. So now that I've got the first one, I'm going to go on to the second one here. You can see when I clicked over, the first one stayed there, my head turned. You can see that center line turned but the first one is blue. Why is it like that? Well, it's because I've got this Enable Onion Skin clip. If I didn't have it, it would disappear. But what this does is it shows me the frame before. Remember that split that was on that center line. Will now my center line is switched, right? So if I want to keep that split, I'm going to use some of this from before. And these tassels, maybe I can have them start to move with the motion a little bit, right? This hair might move with emotion because this is an animation, right? And it's gonna kinda, I'm turning it this way. The head's turning. So I'm gonna kinda have everything turning with that. I'm going to come to frame number three. And the previous one is right there, right? The previous one is also on that. And so what I want to do, well, I like this center line as a bit of a base. And so this tassel is going to come down here. This is going to flick up a little bit and I like to draw it to the neck. There. There we go. And it's going to come around here. This tassel is going to whip in there a little bit. And it's going to start to disappear on this side a little bit. Alright? So right now I've got 123 and I'm going to keep on going. I'm going to keep this center line as my my bangs split, right? But you'll realize that now you have to understand the form of the character's head a little bit here, right? So this hair that's coming down off to the side here is also creating this little tassel. Flip their right. And this one is going to start to disappear as it goes around the head, right? There's not gonna be a lot visible as it starts to turn. Okay? Listen, I don't have to draw this in frame-by-frame. You know, I could have just shown you that, Oh, this is how you do it and I like to do it real time so that I can show you guys how tedious this all is, right? And it's important to me to be able to show that, that actually that's kinda ugly. There we go. But this is a tedious process. So if if it feels tedious to you, that's okay. That's what it's supposed to feel like. It's supposed to feel tedious, right? Again, here's my center line. I like using that as a marker. Try to find whatever markers you can write. The bangs or overhear. Her eyes are just on that line there. I'm going to whip that over there. This one is going to be starting to lose itself a little bit. This is going to start to disappear here, right? I'm almost done. Frame number seven, again, the center line is here. The bangs are going to start to disappear off to this side. This hair is going to almost disappear off to the side. You can see how bad I am at sketching this, right? You can see some of the lines that start to come in. And then frame number eight, the center line for the bangs little tassel thing is just flipped all the way over the over the ear there. And this is pretty much gone at this point. There we go. So now, if I want to play it with both visible, why don't I put it on loop here? I can rewind and you can see how the hair is just slowly moving there. I can take this away and just have it here. And that is how you create animation in Clip Studio Paint. You can make sure you have this onion skin on. Make sure you're creating new layers, all those kind of stuff. And it's really, really tedious. If I back it up to here, you can see how this is just a small part of what is something massive, right? So imagine doing a full figure, drawing it all in. What you can do to save yourself a little bit of time though, is sometimes e.g. then I'm just going to stop this from looping for all of our sanity's. Let's say I do draw a full figure on this frame. Here. I'm copying this whole figure and I'm drawing this whole thing. And then on the next frame, there's no change on this figure. It's just the change of the face. Well, I can copy paste my first drawing from this one. Copy it duplicated into the second, sir. Okay. If I really want to do that, I can just copy, paste my drawing, put it in the second cell, erase the part that I might need to erase and do it that way. Okay, so that can save you a little bit of time. You don't have to redraw the entire body for each frame. You can copy, paste it and that type of stuff. And then you'll have this eight frames worth of work and you can slow it down of course. But boy, there's no taking away from how much animation actually, how much effort needs to come into it. And this is then where you start to export it. You come into File, Export single layer. No, you come down into Export Animation. You can do it as an image sequence that we'll explore each one of these frames. An animated GIF anatomy, It's sticker or a movie. And you can even export the animation cells and stuff I get for different editing and different programs and stuff. But this is the main one that will show you your exports in, uh, in the movie form, right? You pull this up. And then you can see where you want to save it. Not easy guys. Animation is not an easy feat, okay? It's not something that you just casually say, Oh, I'm just going to drop this entire scene and start animating around it. But once you do get good at it, boy, that could be cool. Even if you create like a 10-second promo for your comic or something like that. Motion catches eyes. Okay. I guess you can see why I never got into animation. It was always my dream, but how badly I did that hair. Actually, I can do better and I have done better, but it takes time, it takes careful time and much more time than what we spent together here. So if you want to spend the time, this is not an official homework assignment. But if you want to spend the time to do a 2D animation, however many frames looping or whatever, send it to me because I would love to see it. I love animations. And think about this. It doesn't even have to be something big. Maybe you've got a still image worth your character like the comic covers just sitting there. And all that happens is smile, a smirk. Something like that. Just a little bit, changed it, right? Think about that. Sometimes animation can be just a bit of a flash, a little bit of a whatever it is. But if you want to do it, I'm not forcing you, but I'd love it if you sent it to me. 30. Exporting and Saving: Hey guys, In this unit, we're going to talk about exporting files. Now, this is not an exciting units. We're not animating things, we're not filtering things. This is the nitty-gritty of how to get what's on your screen to a client or whoever it is, the print shop or whoever it is that needs it, right? Sometimes you'll get a client or a print shop that says, Hey, I need this in this format. And you got to understand how to do that. And that's what this unit is about. Okay guys, let's talk a little bit about saving our projects here. Well, not so much the project, but exporting them. I think I've told you a few times during this course, but if you haven't done it yet, save while you're working constantly, either Command S or Control S, whatever it is on your system. Or just save, right, come down and keep it and save. You don't want to lose all the work that you've already done. But that's not what this unit is about. What we're talking about as export in here. So what I want you to be able to do, you can see I've got a bunch of layers for this page. I'm just coloring tons of them. Whatever point we got, probably 20 something here. There's a few ways I can export this page. This was a sample for a contest. So I'm going to go File Export as a single layer. I can come over and there's a few different ways to do this, okay? I can do it as a BMP or a PNG. These both allow for is transparencies. And I'll explain that in just a little bit. Or a JPEG. I get also come down and go into, it says single layer here. But actually what this is, is this will, these different formats will save the different layers for you. Whether it's a tiff or a Photoshop document. When you export as these ones here, you're going to keep these layers preserved. Now. Some of them, sometimes a font or different things that we don't always carry over into these other programs very well if somebody else's opening them up. But generally speaking, sharing one file to another person, this is a way you wanna do it like let's say you do the line work and the flats and you want somebody else to do the coloring or lettering or something like that. This section here, these ones I'm highlighting the Photoshop documents or the tiff or whatever is the way to go about that. But if you're just wandering, export it, let's say for making prints. Jpeg, PNG, usually these are the ones you want to go for. So let's click on JPEG and see what pops up here. Okay, So I want to save this color sample file. I can name it whatever and I'm going to put it in my how to color comics class. I'm going to hit Save. And now all bunch of settings pop up, all these J peg settings. The quality is the first thing that you want to set up here. Do I want it at 100%? 100%, meaning whatever resolution I worked on this document is going to carry over into this J peg export. If e.g. I'm sending it off to a client and I don't want to want to work watermark it, but I do not want the client to have the final version until it's paid or something like that. I might export a 10%. That way they can't really print off of it, but they could see the sample and see what they want. You can also come down and change the output size, the resolution, and all that and reduce it. Increasing it won't really work. You've worked at 03:50 dpi. If you try to increase it, it's not going to increase the quality really well or anything, okay? So realize that you can export it at a lower quality than what you were working. But exploiting it a higher-quality just isn't going to translate. It's not going to create amazing art that wasn't there or anything. That's a simple jpeg. Once I click Okay to here, it'll give me a little preview. And again, it gives me a last chance to adjust the quality and take a look at the file size and stuff that I'm going to export it at. Okay, I'm going to cancel that. So that's, like I said, the basic way of exporting this as a flat image. Jpeg is the safest one that I work with. For files, go with tiffs, targets, or Photoshop. Another one that I want to show you is how to export something with a transparent background. So these were some tattoo designs that I was working on. You can see I resize them a little bit different. I've got the layer off to the side here. It's labeled lines, but below it is still does flat piece of paper. So if I went over here and said File Export single layer, and I want to do a PNG or BNP which allow for transparent backgrounds. Well, that's not going to work. It's going to send me to here and I can say, okay, but it's still going to have that background that is white. I don't want that. I want something transparent. Let's say I'm designing a logo for a t-shirt or something like that. I don't want this white in there. I want transparent. So what I'm gonna do is come down here, turn off the background. And now you can see because of the little hexes and stuff I get that. It's just my line layer sitting there. Now I'm going to come back up here. I'm going to go Export and do the same thing. I'll pop over to PNG. It's my tattoo samples or whatever. I'm going to throw it over to here. Everything looks pretty good. 100% ratio. Yeah, I'm looking good. And now you can see on my export preview that It's actually a transparent document that I'm exporting. And that's what you wanna do when you're exporting something like I said, for maybe print work on t-shirts or something. Okay. When it comes to exporting off of a comic book, much is the same as the Senate. We've talked about this before. We went into in-depth in setting up all the pages and understanding how they overlap and how you can have the bindings and stuff like that. And I can come here and I'm going to, but it's gonna be different. I'm going to come to export multiple pages. And so I've got a PDF format that I want. I could do it as a batch. So this is the difference in basically looking at it for exporting for a book. I can also do a 3D preview for binding. Let's see, it takes a little while to work through a little bit as it's looking for everything, right? Although I have nothing in this one. Here's my my preview, my preview of nothing. But it shows me pretty cool, right? Shows me as what it would look like if I had a double-page spread on on pages 10 and 11, that's what it would look like. So this is a good way to confirm before you send it off to a printer that you've organized your pages correctly. Okay? And the last one, we went over animation in the animation unit, but I just wanted to do it again. Make sure as export Animation, come over in a movie. There you have it. It's as simple as saving and saving it out that way. You're gonna get this little Export Movie setting pop up, right? And the frame rate and the width, the width and the height were already established in here, but you can start to edit them if you want to in here and stuff, right? And that's how easy it is to export in Clip Studio Paint. They really make this program easy for creators, comic book illustrators to get the job done. Keep yourself organized and put an incredible product out there. They have an incredible product and now you do too. I love to see the work that you guys come up with. Send it to me, whether it's on this site or track me down otherwise. But I really want to see what you guys produce out of this course and with Clip Studio Paint in general. So now you know, now you know how to export whether it's JPEG, PNG, bitmaps, whatever it is, I guarantee you're a lot more confident with it. Now. Take the time to get a little bit familiar with all of these. And then I'm sure you'll find you're kinda default of what you always export with, right? Play with it though, because I want you to be really familiar. Just in case somebody calls and says, Hey, can you do this? I want you to be able to say yes. 31. CSP Thank You: Hey guys, I just wanted to give a big thank you for joining me in this course on Clip Studio Paint. There's so much about this program that's awesome. And there's so much to explore. I know it's huge. But if you've got to the end here, you did it, did amazing things, right? I brought you from hopefully knowing almost nothing to being very comfortable in this course. But if there's more that you want to know, if there's questions that you have. Maybe something that you feel is missing or you're just curious, leave a comment, send me a question, and I'll add a unit. If I can answer it easily in a quick question to you. Don't worry. Probably it's something deep and people have been asking me, so I'll make sure to add a unit in for you. If you'd liked it, if you liked this course. Give me a thumbs up in the review or something because that helps me create more content for you. Speaking in more content. I've got a bunch of other courses. Of course, as I'm working on in 20 something that I've already made. And if you haven't checked them out, jump on in and take a look.