Digital Anime Coloring and Cel Shading Masterclass - Beginner to Advanced | Okuha | Skillshare
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Digital Anime Coloring and Cel Shading Masterclass - Beginner to Advanced

teacher avatar Okuha, Digital Artist

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

    • 1.

      Introduction

      1:05

    • 2.

      Canvas Settings

      1:13

    • 3.

      Layers And Folders

      3:15

    • 4.

      Layer Modes And Opacity

      3:39

    • 5.

      Clipping Mask And Transparency Lock

      4:48

    • 6.

      Skin Tones In Anime Art

      2:20

    • 7.

      How To Color Anime Eyes

      3:52

    • 8.

      Intricacies Of Coloring Anime Clothes

      4:00

    • 9.

      Coloring And Shading Objects

      6:32

    • 10.

      Strategy For Base Colors

      6:10

    • 11.

      Cel Shading Your Drawing

      9:23

    • 12.

      Adding Lighting To The Drawing

      9:19

    • 13.

      Drawing Gradient Effects

      2:05

    • 14.

      Coloring And Shading Background

      3:53

    • 15.

      Finalizing Your Drawing

      2:46

    • 16.

      Different Options For A Drawing

      8:10

    • 17.

      Final Thoughts

      1:55

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About This Class

In this class, I’m teaching you how to color and shade anime drawings. In the first lessons, we go through some of the most important features of layers and folders, dive deep into clipping masks, and learn how to use transparency locks efficiently.

Next, you will learn important concepts about how to color and shade anime eyes. We will also briefly tackle how to color anime clothes, after which we will explore how to cel shade different objects.

When the fundamentals are covered, you can download a template I’ve provided so you can practice how to color and cel shade a ready-made drawing. This will speed up your learning immensely as you can focus on coloring and not on drawing line art.

This class's coloring and cel shading principles are suitable for all levels. There are more than likely some neat tricks and tips even for you veterans to learn.

If you’ve struggled with cel shading and coloring before and would like to improve your anime drawings, this class might be the answer you've been looking for.

I’m glad you're here with me, and I hope I can show you various tips and tricks for coloring and shading your anime drawings. Let’s get going!

Course requirements:

  • Drawing tablet and a stylus.
  • An art software of some kind, such as Clip Studio Paint (recommended), Procreate, or Adobe Photoshop.

Meet Your Teacher

Teacher Profile Image

Okuha

Digital Artist

Teacher

I'm a digital artist who is passionate about anime and manga art. My true artist journey pretty much started with CTRL+Z. When I experienced that and the limitless color choices and the number of tools I could use with art software, I was sold. Drawing digital anime art is the thing that makes me happy among eating cheeseburgers in between veggie meals.

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Level: Beginner

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Transcripts

1. Introduction: What I love about coloring and shading is that it brings volume and form and truly brings the drawing alive in a new way. Hi there, My name is Dan, and I'm an artist. And in this class, I'm showing you how to color and shade animate art. In this class, I will show you the whole process from the very beginning of laying out the base color, shading, lighting to the very final adjustments when we are finalizing the drawing in the class, I will show you different shading techniques and also how you can structure layers and folders to truly speed up the whole drawing process and make everything so that it's super easy to change colors and do different effects for your drawings. Now, I would say this class is great for beginners, but there are some advanced stuff too. But I tried to simplify everything. So it's easy to learn if you're into Animate art and specifically to sell setting, which is the technique that I will be showing and teaching you. Then this class is to pair up for you. I'm excited for you to take this class with me and let's get started. 2. Canvas Settings: Hi there and welcome to the very first lesson, which is about the Canvas setting and resolution. So let's get started. So it doesn't matter that much which are software you use. These settings are pretty much universal when it comes to drawing digital artwork. So I just select New and from the new panel, I can see that I can change the canvas size by adjusting the width and height of the canvas. And I also see the resolution. Now usually I tend to use something like 7,000 by 4,000 pixels. And I have few custom-made presets here. And A2, e.g. isn't very good sized, draw in and eight K is also very good. Now resolution wise, I suggest to have something like 300 dots per inch, DPI or PPI pixels per inch, or 600 or something, 300-600. When it comes to color or color profile, I suggest to use RGB and in Clip Studio Paint you kinda like just how color gray and monochrome. But in our case we will be using color. So when he already with the settings, you just click. Okay, and now you have a new canvas, and that is it for this lesson. 3. Layers And Folders: Hi there and welcome to the next lesson. Let's continue with the cannabis that we just created. I already have one new layer on it. And if I create a new layer, It's easy. Just click this little new raster layer and you will get a new layer. Even though you would have some other art software, they still do more than likely have this option of creating new layers and folders. And that is the thing that we will go through in this lesson. Now create a new layer for your cell and then switch back to layer one if you have that kind of layer structure now, now it doesn't matter what you draw to layer one, but just draw something on it. And in my case, I will just draw a circle. There we go. That is now on layer one. Now switch to layer two and draw something else to it. And in my case I will draw a red circle. On layer one, I have a blue circle, and on layer two, I have a red circle. Now this is how layers work. Now, if I move a layer one, you can see that it's below the layer two. And the reason is that because layer two is above layer one, layer two is then kinda like hiding the layer one or what is on layer one. If I change the layer order by just dragging the layer one above layer two, you can see that there's now the blue circle is above the red circle. But if I move them like this, we don't see any difference either moving the layer one to layer two or above layer two. So you don't see the difference, but you see the difference when you move the object below layer two. So that is the basics of how layers work and about the folders. I just select both layers and drag them to folder. And then you can see that now I have a new folder which has the new layers. If I would like to create a new folder, I'll click new layer folder. And now I have a folder, but I don't do that now. So when I press the little icon, which signifies that whether it is visible or not, you can see that by clicking that you can hide both of the layers. And also when you are using a move tool, you can say that when I'm moving folder or what is inside the folder, this is what happens. So now I'm moving both of the layers when I'm just activating the folder level. And if you want to create new layers under the folder and you just go to the folder, click new layer and it is under the new folder. Or if you want to create a new folder under a folder, that is also possible, just click New Folder. So that is how layers and folders work in clubs, theater pain, even though you wouldn't have tips during paying Adobe Photoshop, e.g. pretty much works the same way. So don't worry if you don't have Clip Studio Paint. These principles pretty much applied to every art software out there, though. There could be some exceptions. But that's it for this lesson and we are now ready for the next lesson. 4. Layer Modes And Opacity: Hi there and welcome to the next lesson. Now, let's continue with the two surrogate rules that we have, or if you have drawn something else, let's work with that now in this lesson, I will call through view layer moms and how they work. And I won't be going too deep into all the different layer modes there are because it's kinda useless because I only use few layer modes and play around with some of the effects. But anyway, let's go through layer modes and what they are, how they work. Now you can see in Clip Studio Paint, there's normal written in the layer. And you can also see normal above the selections that you have here encrypted. It's called Blending Mode, Adobe Photoshop, I think it's called layer modes. But nevertheless the principles are the same again. So if I select Normal or let's select the above layer, or in my case layer-2. Let's select that and select multiply. Multiply is the layer mode that I usually use. Notion, as you can see, we switched the multiply layer mode on, but nothing happened. Now here's the thing. Nothing happened because there's nothing below the layer except the background, which is why, in a sense, it doesn't have anything in it. Now what happens when I move the red circle above the blue circle? And you can see that suddenly there is an effect. And what the multiply layer mode does is you can say that it targets the parts that have something in them. If I move layer one and layer two intact, you can see that only the parts that have something like the blue circle that we have here, only those are affected. So that is how layer modes work. If I change the layer mode to something like screen, you can see that it lightens, depart, which has, have something. We can say that the blue circle is now filled with color pixels, but there's nothing else. So if I make the background transparent, as you can see, every other pixel in this layer is now transparent except the blue circle. That is everything that we have in this layer. That is also the thing. Which layer modes? Layer modes only affect the pixels that do have something, so they don't create anything. So you have to have pixels that do have something. And as you can see, the checkered background there that is just in digital art, that is nothing, that is transparent pixels, which has nothing. Now I have a white background and we can kinda continuing from here, as you can see, there's a lot of different layer modes and you can play around with those and see what kind of effects every different layer modes keep you and all of them give you something different from each other. Now, I switched to normal. And one thing that I want to show you is the opacity of the layer, which means that the field in the pixel is now transformed. So as you can see, if I decrease the opacity of the layer, it becomes more transparent. If I'm at the background, not visible again, and they're just transparent pixels. You can see that now the red circle is also kind of like showing the transparent pixels, which means that the pixels are now doesn't have so much opacity. So it doesn't have so much Phil, I use opacity quite a lot and layer modes quite a lot, and layers and folders. So now you have the basic structure of how I draw images, and now we are ready for the next lesson. 5. Clipping Mask And Transparency Lock: Hi there and welcome to the next lesson. Okay, so let's continue from here. Now we have something on our Layers and they are on a folder. Now we know the opacity and we know the layer modes. Now we will go through what is layer clipping as steady-state, again, something that I tend to use quite a lot. As you can see, that the red circle is now above the blue circle. What I tend to do with some of my layers is that I create a clip to layer below and out of adobe Photoshop that is probably called clipping mask. So let's try out this asset can see now we have the red circle, but it's only visible inside the blue circle. So what this creates is that the blue circle now determines the area of effect of where the red circle can be in. So if I unclip, you can see that here again. Now the red circle is free to move. But when I clip it to the blue layer, you can see that now it has nowhere else to go or shown. It cannot be shown anywhere else, but inside the blue circle. So that is how clipping mask wearer. And clipping mask is something that I tend to use quite a lot. And yet again, if we make the background transparent again, you can see that there nothing showing up anywhere else but inside the blue circle. Now, another cool trick is to use transparency lock. The way transparency lock works is that we are looking the field pixels. And when we try to draw something to the layer, only the pixels that are locked can be filled. So let's try out how that works. So in Clip Studio Paint we have lock transparent pixels. Let's activate that. Now we are on the blue layer. And if I select a color, something like green or let's say purple and I start to draw, I draw a line. You can see that, well, now it's inside the blue circle. So the transparency law creates an effect where I can only draw inside the pixels that are locked or inside the blue circle in my example. Now this is one way of controlling which element you are actually drawing. This, this is something that I tend to use a lot in my drawings. So this is one way to control where you draw. Another way is to create a new layer, create a clipping mask, or clip to layer below. Now you have a brand new layer, but it doesn't have anything. So let's draw something. As Xc, I drew another line. As soon as I see the effect is the same. But here's the thing. These work very differently. Now, as you can see, we have a new layer and we have a line there, and it is locked to the layer below. As you can see, it has a clipping to the layer below, to the layer one. Now, what I can do if I have a move tool, you can see that I can move the line as I see fit inside the blue circle. So if something goes wrong or anything, when you have stuff in new layer clipped to the layer below, you can make adjustments, but I can do the same thing with the purple line because it's already in the layer. So this is yet again, one neat trick to structure your work. If you want to have a pretty good control of what we want to draw, where you want to draw, and what if you want to correct things and those kinds of things. Now I can also clip this layer below. It is yet again inside the blue circle. And if I unclip it, then it's above the circle. And if I change the layer order, now it's below the blue circle. And if I switch to the layer three, which has line, I can move that. Or I can move the blue circle. And the line is there. As you can see, the line doesn't move anywhere, but the blue circle will move. So when you're drawing, always remember at which layer you are drawing or which layer you are using. Currently, neat trick with the transparency lock is that if I select now the color blue, and as you see, I have selected the color blue and feel the layer. You can see that now it's completely blue. And all I did was the transparent pixels are locked and it's kinda like whatever I do, it's only affecting the blue circle. So that's all about the transparency lock and a clipping mask. So now we are ready to move on to the next lesson. 6. Skin Tones In Anime Art: Welcome to the next lesson. In this lesson, I want to show you kind of like the endless possibilities animal skin can have. So what I have here is an example of drawing, and I will give this to you as part of the course, so you can play around with that. And in the skin tones folder, which has a bunch of layers, is a lot of different skin tones. And in animated drawing, we can pretty much use any skin tone we want to. And the beauty of the skin tones is that as you can see, the skin tones kind of blend in very nicely, even though I just switch the color of the skin. So you can see it is changing even though they're like small difference there and there's a more radical difference. And what you can notice is that these shapes here do not change anywhere. I'm just switching the skin tone and the colors blend in nicely. And the reason why this happens is that I have a multiply layer mode activated for the folder. So everything that is inside the folder is now using the Multiply layer mode. And I have a shadow layer here. If I deactivate that, you can see that the shadows are now gone and on and off. So this is the way layers work. So if I just on activate this, can say that it's not visible and now it's visible and creating the effect. If I change the multiply layer mode to something like normal. Now this will show you the color that I have used to create the shadows. But when I switched to multiply, this is what happens. So it creates a very different effect and I will leave this template to you so you can have all of these different skin colors can get a very nice wipe with how their skin colors work in an animated drawings. Now let's create some color for our anime character. Select this, and it just looks pretty good. Now play around with the character and with the skin tones and get familiar of how the skin tone can be pretty much anything in NMR. So let's move on to the next lesson. 7. How To Color Anime Eyes: Hi there and welcome to the next lesson. In this lesson, I will go through how to color anime eyes. I will leave this template to you so you can also try out different color and tactics. First off, we have just liner and some basic shading. And the next thing that I will do is just activate the layers that I have previously drawn. So you can see what happens when we activate these. Now I have just activated a shading layer to mind through the IY layer. So I want is this part here and the shading is this part. As you can see, if I unclick the multiply layer, you can see that this is kind of like what happens now. If I select the iris. You can see that now I know the iris have some color. And yet again, what I have done is a new layer iris colored the RS layer with a color. I can just switch the color to something else, blue, e.g. and that's that's it. I won't be doing that now. And what I've done is create a clipping mask above the RS layer. And the reason why I do this is because I want to have the multiply layer mode only affect the iris layer. I don't want the multiple layer mode to affect anything else. And if I unclick this, you can see that now it's going over the iris layer. As you can see here, we have these little spots, but if I create a clipping mask, it's only on the Irish layer. Okay, So that is what I've done. The next thing is I created a new Multiply layer. And when I activate that, you can see the effects are looking pretty good already. When I say that I is evolving and all I've done is just created these shapes in a multiply layer mode, and that's it. The last thing is to create an overlay layer without a clipping mask. This is the result. So how did I color this time, as you can see, the conflict, the secret or the thing with coloring AMA eyes is that it has a structure. The structure is that you have an iris layer and then all you do is actually higher up different layers on top of the iris layer create different effects, and that's it. So all I've done is that I created a new Multiply layer that already creates a shape or form for the iris. Then what I did, I created a new layer, a new Multiply layer. So that's kinda piling up those layers on top of each other. And third is the overlay layer, and that's it. So when you see those beautiful Animalia is a secret here, is that you just pile up different layers with different layer modes on top of each other. And that's it. Now, if I would like to take this a bit further, I could kinda like select the line art layer, create a new layer clipping mask. Thing that I'm doing is just affecting the line art layer. And I could just color your line art layer. Now, not all of the lines are in the same layer. So it might say like few black lines here and there might not be the best results. But this is yet again, a thing that you could do. So it's just building effects on top of effects. And then you have a beautiful animation. So that is one version of what the eye could look like. And I have another one, which is kinda like the version two. And yet again, the same thing, nothing else than the iris layer. And then piling up different layers and different layer modes on top of each other. And that's in an inversion. Breathe the same thing. The IY is now DAR it again, I have to multiply layer mode, show that there's shadow. And yet again, new Multiply layer modes on top and the overlay layer it a different color. So that is all you need to do to create cool-looking animal eyes. So now you know how to color anime eyes, and we are ready for the next lesson. 8. Intricacies Of Coloring Anime Clothes: Hi there and let's get on with the next lesson, which is about coloring animate clouds. Now I won't be going too deep into how to color every single clothing out there. Let's just focus on the basic principles of what to consider and to know when to, when color coloring the enemy clouds. So now I have two different examples here. So on the left we have a clothing that is dark and the shades just work brilliantly. And then shading colleagues work. On the right side we have a clothing that is now white and we can see the thick one being the same shading. It's, this doesn't look good. The question is, why doesn't this look good? Especially this area here on the left side. Looks like it should work like that. Now, let's go through what is wrong with this image. Now what you can see on the right side is a situation where the shading is too dark, like it just doesn't make sense to make the shading so dark when the color of the clothing is light. So what we have to do in these cases is to switch the shading to a lighter color. And as you can see, all we have to do is select a lighter color for the multiply layer and SMC, the folder is yet again on Multiply layer mode. So all the colors and layers below the folder or under the folder is not affected by the same multiplier effect. So we could say something like these kind of color looks pretty good already, but it's not yet there. So let's add few things. Now. There we go. Now, it looks a bit better. So all I did was I changed the layer color to a lighter one. And the effect is already better. The question is, why, why is it blue? Like why did I choose blue? And one reason could be that the sky is blue and then it kinda reflects the fabric like gifts, that same color that is visible surrounding the character, which is blue and bright blue sky, in this case, the white gives the color of the surrounding. Now, I could also use something like a brownish color or a gray one, and it will still look pretty good. So could be something like this. This would also work pretty nicely, but the blue color is more in line with the whole, whole drawing. So I would prefer blue in, in this case. So that thing here is that when you are coloring animate clouds is that do take into account the environment that where the character is. And also when, especially the white clothes, those should be colored more in line with the environment and the surrounding lighting that is present in the image. So that is pretty much the thing that I wanted to explain to you and show you the difference. As you could see, if we would have a dark shadow on a very light-colored clothing, it wouldn't look that good. And the left side looks good because it's a dark colored clothing. So that's a very brief walk through on how to call our animated clouds and what to take into account surrounding and the environment and the light source, the light color, those kind of things should be considered. But I wanted to give you this example with the white colored clothing, business status, the thing that some people might struggle with to make loop, good. So I'll just switch the multiply layer to something very soft, light color and it will get these kind of results. Now we are ready for the next lesson. 9. Coloring And Shading Objects: Hi there and welcome to the next lesson. We already know quite a lot about coloring and different layer modes and using different tactics with the layers and folders. Now, we start to understand more about coloring and shading different objects. Now I have two examples here, and this is pretty much what I already said in the previous lesson, where when we have something very light white, those kind of colors are light colors. The shading cannot be super-strong because it would convey the object to be something else that than it is. So we have two feathers here. And as you can see, the feather looks a bit strong, like it doesn't make any sense, but the vendor or below makes more sense. So what has changed? Take note that in this feather there's a black line. It has a strong shadow, and that's pretty much that. So in this case we have lighter shadow color. What I've also done is I colored the line art. So that is the main difference of these two feathers. And as you can see, they look very different, even though they are exactly the same feather, exactly the same shading except the coloring is different. Now when we are coloring and shading different objects do take into account what kind of material or object you are shading or coloring. If I would have left the, the color of the line art to something like dark, it still wouldn't look good. So this in my eyes doesn't look good even though we have a lighter shading. You have to think the whole thing through, whether it makes sense or not, to color the line art to, to, to make it very light and feathery. Next we have robber in the rubber example I want to show case you, then Matt and the shiny effect in version one, which is the upper one, we clearly see that the lighting is actually pretty intense, like it's bright light, and the shading is also pretty dark. And this kind of contrast makes the object look like it's very shiny and, and, and car-like solid. But in the other case, we have a more matte like or kind of like Matt, hey, like, I don't know how the word is said, but my pay like shading or lighting also the shading is not that hard. So this makes them more softer rubber ball when in this case, in the upper case, we have a very solid, strong rubber ball. In the lower one, we have more softer one. And that's only because I have decreased the opacity of the multiply layer. But that is kinda how I think about these two rubber balls. Then we have metal and in these cases, I have done what is a very shiny metal and a different kind of shading and coloring for the below metal bar. So let's go through how these were done in the version one, what you should note is that then again, I have colored the line art. I have added this kind of shine effect to the corner. What is super important to note here is this little space here. Note this space, the shading isn't to the edges of the object. And this is one super cool trick when you're shading different materials and objects. Whether we are actually adding the shading to the very edges or do you leave a small space to the object or to the shading? Even in the lighting part, I have added a small space there. And it creates a very nice effect, but it might not be something that you just know see instantly when you watch these objects. This is the reason why I wanted to point these little details here to you. So you take notice the shading isn't on the edges. In the lower example, we have that the shading is now touching the edges and in the lighting part two, so it's on the edges of the object. Now one thing to note here is the line art color. As you can see here, the line art isn't visible because the line art is now colored with this color that you see here. And when we go to a lighter color, which is this or this line art is now visible. But when we get to the shading part, if the line art is the same color as the shading is. And so when the line art is the same color, shading and the line are blending together and creates a very soft effect for the object. And yet again, what I have created is a very simple thing. I've created a very simple line art. As you can see, this is the liner. I've added a color to it, but only after I have done the shading, the shading determines the color. So let's keep that off still. I filled the object with color, created a multiply layer. First, I colored all these things with this, with this color. Then I create an annuity multiply layer and a screen layer. And that's it. I colored the liner and it's done. What you should note here is that what I did was that I deleted three of these parts that you see here. And that creates a very nice effect for the drawing. As you can see what you see here, this isn't a lighting. This is actually the same color. That is this. So it's the same color, but I just deleted that part. So if creates a nice effect for the object. So now you know different techniques and tactics of how to color and shade different objects. Now there's no one way to shade these or one correct way to do this thing. Experiment, try out different things. And if you want to create these objects that I have created and then just shake them, colored them, have fun with them. Next, we will go through how to color and shade and drawing. So let's get to the next lesson. 10. Strategy For Base Colors: Welcome to the next lesson. In this lesson, we will go through how to create base colors for your drawing. So let's get started. Now the first thing is to have a line art that we will be using to color. Now, I will leave this template to you on the resources section of this course. So do open this line are to your art software. Now the first thing that you do is create a new folder and name it liner. Now, I've already done that and I have a line our folder. Now the next thing is to make sure that the line art is inside the folder. Now what you should have a line art layer that has background and then connect the foreground and the middle ground. Now, I will leave these to you so you can open these were our software. I will also give you a PSD file and a CSP file, Clip Studio Paint file, which you can also open that already has this available for you. Now when you have the line art layer, what we do is deselect the background, so the background is invisible anymore. And the reason why we do this is that we need to create a mask for our folder as we need that when we are doing shading. So what I do in Clip Studio Paint, I select a magic wand, just select the parts that are not about the character. And when I have done that, I will create a, create a layer mask in Adobe Photoshop that is mask or something else. So do check that out if you are using Adobe Photoshop. But what I do is create a layer mask. And as you can see, I now have a layer mask. It's not the correct layer mask, mask that I work. So as you can see, there's black there. Now the characters black and everything else is white. What I do want is to switch that and the background is black. What it means is that the white area is now visible. Black area isn't. This is the same concept with transparent log or clip, clipping mask. So that is kind of like how this works. Now we don't have to worry about anything else at this point. The next point that we do is open the folder, create a new folder called colors in it, and a new layer called skin. So do that next. Now when you have created a skin color layer, this is the time we start to create the base color. Now what color should we pick for the skin? Now that is up to you. You can pick any color you want. I will just use something like a light brown or something. Now you have few options how to create the base colors. You can either use a brush to color the base colors, which is pretty okay. I actually don't do it this way, but this is a way you can do, just do some brush and color at the base colors to the skin. So now we have skin layer selected. And what I do in Clip Studio Paint Eastern, I use a fill tool. So all I do is click to the layer like this and select all the parts that I think our skin. Now you can see that it filled something that I didn't want it to fail. And all I need to do is erase the parts that are not about the skin. So if there are some gaps in the line art, as we can see, there's a gap. And that is the reason why I colored the collect the neck clothing. So all you need to do is erase the parts that are not skin. So skin is also these parts here. If you wish to, you can decide what is skin and what isn't skin, but these are the skin parts in the drawing that you see here. So that is pretty much now the skin is premise colored. Okay, Next I do a lock transparent pixels. And here's the fun part. Now I can just switch the color, fill it to whatever color I want. And it's easy and super fast to get new colors. Do the same thing for all the objects that you see here. And the end result should be something like this. So we have skin, then we have a rock. You can color it to your, to its own layer. Or then as I colored, it's on the skin layer, but it's okay. You can do whatever. Then the eye and iris, we have the hair, and the hair has three different colors. See tenders, the wing born, neck clothing and clothing number two, and that's all there is. Now you can see that the wing part is actually missing color. And the reason why it's missing color is because the mask was incomplete. So what we do is colored mask layer, and that's it. Nothing else and it's all done. So if there are parts that you see like, well, now it didn't select the parts that I want it. And here is one part that is still missing here. So let's color that. There we go. Now we have colored every single object in the image or in the drawing, and that is the thing that you should do in this lesson. So I'll just get those base colors in, and that's it. Now, if you're struggling to think, what can color should I have? One good side is Color Hunt. And we can use this site to pick different colors schemes. So I could like, use these colors here, copy these to my ROI. On there, we have it. We have now a color palette. And as we are using transparency lock, all I need to do is select a color like this and just start coloring. And what this does is create a new color scheme for drawing. And there we go. Now it doesn't move. Maybe not that good. But it is an option that you can use a, some site that has different color palettes. And then just, you know, implement those to your drawing and then that's it. Now as you have selected base colors for your drawing, the next thing that we do is shading. So let's get to the next lesson. 11. Cel Shading Your Drawing: Welcome to the next lesson. In this lesson, we start the shading process and it is pretty simple. All you need to do is select a brush. I tend to use a color brush that has nothing else than solid pixels, a small anti-aliasing setting. And that's it. That's all I have. So select the brush that has some solid color in it. You can use different brushes if you like. The shading process is very simple. All you need to do is create a shading folder. What I've created a new folder, set it to multiply layer mode. That is what you need to do and create a layer below it. And here we have new layer. The next thing that we do is select a shading color. So let's start with something like violet or grayish violet or whatever. And then just draw a line. That's all you need to do. And then you can see that, well, is it good color or not? And in my eyes, it looks pretty good. That's all you need to do here. Select a color and nothing else. Now, let's erase that color and do one neat trick. Now this technique is something I use every time when you have your colors folder, select a new layer and color the layer with gray. That is what you need to do. Pick a gray color and do that. Now you have a layer that is filled with color, but as you have the mask, there are only certain parts colored in the drawing. So not the background, but only the color, only the objects that you want to color. Okay, So that is what you need to do. Then switch back to the layer that you just created to the multiply layer folder and maybe select again the color that you just selected. It doesn't matter if it's precisely at the same or not. That's not the point. Next we start the shading process. We have few things we could do. You could do these kind of shading, just draw like that and erase the parts that was kind of like a bit of the liner. Okay. So you could draw something like that and that's already very good. Now when you are doing shading, you have to remember where does the light come from. So in my case, I could say that the easiest way to approach an image is to think that the light comes from above. This is where the light come from. So it comes from above, then it would be pretty easy to select different parts to shade. Like the nose, probably doesn't look like that, but maybe something like this could be good and a small shading for the lips. So all you need to do is start shading. The part that you see could have a shadow. A good option here is to think, why is car-like creating the shadow? Like we know that the face is separate from the car-like their throat area or neck area? Well, probably this area will have a shadow and there we go. Because the light is coming from top. We can say that this area should have some kind of shadow because the chin is creating the shadow with this option here, with the neck clothing, the same thing applies. The light is coming from above. And if I think this form is kind of like bent inward or to the inside or some, or something like that. All I need to do is shade and create a form with the shade. And same thing applies here. We could say that the object is creating. There's kind of shade. Okay? So it's now kind of like telling us that the object is going in to towards the skin and creates a shadow that way. But this is yet again, a thing that you just kinda have to think and figure out where the shadows might be. So in this case, here is, you know, back. So it could have this kind of shading. So that is how I progress the image. I use fill tool to fill the areas that I know are in shadow. So that's a very easy way to quickly create the shadows that you are looking for. Another very nice technique that I've used multiple times and collect every time I shade. Instead, I zoom in quite a lot to the drawing. I select a small brush size for my brush and draw a line. That's all I do. Draw a line. And I could draw another line, something like here, and then select the fill tool and fill the parts that I want to go. Super simple, super easy, and does not require that much time to do even. Because it's very straightforward process when you know the tools that you are using. So all I use is one brush and Field Hall to do the shading. That's all. Sometimes I use the airbrush to do some kind of gradient like effect, But now we focused on the shading part. Now let's continue doing the shading. So for the hair, I use the same technique, small brush size and one line. That's it. Nothing else. Feel a line. And there's the shading. Now, the way I do those spiky things or those very sharp things to the hair, is that I select a lasso tool and all I do is create a form with the Lasso tool and fill the element inside. And that's it. That is how you can draw this spike like things to hair. And it's actually super easy. All you have to do is select the Lasso Tool, create a forum with that lasso tool. So that is pretty much how I progress through the shading. And while it doesn't look that good Now, this is the end result that is for when I've done all the shading for the drawing. So this is what it looks like. When the shading is done. All of this is available for you. So you can just practice shading, looking how I did the shading and practice from there. And this drawing might have mistakes, flaws in it, but that's okay. That's just me, you know, also learning new things. How about objects, shapes and forms and volume and so on. But the thing with the gray layer and the importance of gray layer do use that because then you focus on the volume and the shapes and the objects. And you do not care about the underlying colors that are in the drawing. And as you can see, this is one of the key things when I'm drawing these animated drawings is that when I have the multiply layer folder and a layer inside it, I can easily check how it looks like. When I've structured the drawing and the layers like this, I can quickly enable and disable the gray layer. And I can also quickly enable and disable the shading layer and the shading folder. So that is what you should do, do the shading for the drawing. And also one thing to note is that I have another shading, which is called shading number two, and the principles are yet again the same. Nothing else, nothing new. Just add as second shadow. And the thing that I want you to note here is that the way I have done the second shadow is just for a few parts here and there. So it's only visible in few parts and only emphasizing few things. Sorry, that isn't but these few things here and there, just to emphasize few parts of the drawing, okay? And you can easily check whether your shading looks good. But sustenance, clicking the icon here and checking like doesn't look good to your eyes. If it looks good to your eyes, it's good to go. So don't worry if it doesn't look the same as my drawing. That's not the point. The point is that it looks good to your eyes. This is the thing that you should next do. Just do the shading to the drawing. And when you want to check how the layer color and everything works, all you have to do is disable the gray layer and you can see if it works good or not. 12. Adding Lighting To The Drawing: Welcome to the next lesson. In this lesson, we will continue from where we left off. Now that you have your shading done, it's time to do the lighting for the drawing. And yet again, the same principles apply. So all you need to do, and this time I don't use the gray layer that much. Sometimes, but not always. But in this case, don't use the gray layer. So all you need to do is create a new layer and you can name it to either no hair, e.g. let's do hair lighting and I send it to screen layer mode, and I select a lighter know some color and I can try it out. Does it look good? Does it doesn't look too good. So let's pick another a bit. That looks pretty good. So that is good enough, okay, as you can see, it's pretty dark as it's in screen layer mode. So that is all we need to have. A good technique that I've tend to use with my drawings is to bigger, sorry, I'm switching between layers and then I forget, like what color did I use? Or, you know, like I want to keep those things, you know, intact and so on. So all I need to do is create a new layer, clipping mask. Fill this layer with the color that you have chosen to use with the lining layer. So that's all you need to do. Now, even if I would change this color now, as you can see, I changed it to bright, something violet or whatever. It's still the same color. If I disable, you can see that, oh, it doesn't look that good anymore. But I, as I have the layer now, fully colored with the color that I liked, it doesn't matter which color I select here because it will always show the same color. Okay, So that is one neat trick that I use a lot in my drawings. So I have a color layer on top of the actual layer that I'm using to draw. Drawing. The head, hair flash or whatever. It's pretty easy. All you need to do is create these kind of like a circle like effect, like that. That's all you need to draw. Next thing that we do is erase the parts that we don't like that much. And I just erase the parts that I don't like. Doesn't matter if it's all on top of the horn. We can kind of like just fix that soon, but just do these little things. Okay? I won't draw that fully now, but the next thing that I do is select the Lasso tool. Again. Emphasize the parts that I want to emphasize and then use fill. So that's all you need to do. Create those little nice effects there. As you can see, the hair actually looks pretty good already. And I can also erase things with this lasso tool, which I sometimes do, and then just fill things that I want to feel nice. You can see that the layers on top of everything, it just doesn't look that good. Or we need to do is select the colors, create a selection from, I think it's control. I'm not sure if I think it's Control key. Select the layer and you can see that it's only selected the hair part. So now we go to the lighting layer. It's already selected. And we inverse the selection, inverts selected area in Clip Studio Paint and then select, Delete. That's it. Now, it has only included the parts that are here and the lighting is only affecting the hair part. Now the next thing is that we can see that, well, now it's on top of the shadow. Same thing. Select the shading layer, press Control, and click the layer, and it should have a selection. Now, the selection is now showing all the shadows. That is okay, that is what we need. We need a selection that has the shadow now. And then we go to the lining layer, select the screen or the lighting layer or the task lighting now and delete. And there we go. Now the lighting isn't affecting the shadows. This is an optional thing. You can have it affect the shadows because innocence, it should affect the shadows. It's kinda like a design choice or a, or an artistic choice. So yet again, we are artists and sometimes we can make decisions that are not logical or doesn't make sense. But if it looks better to your eyes, then in My opinion, why not do it that way? If it looks good to your eyes, go for it, because at the end of the day, drawing, coloring, shading should be fun. It shouldn't be just, you know, strict rules and those kind of things. Have fun with the drawing. Now there are many ways you can do this, you know, hair coloring part. And in my case, what I've done is I've created a hair layer and credit and mask with the hair selection. So I created a, you know, the way I do that is I create a selection. Now. It has only the hair selected. And then I'll just go and click the mask and it will create a mask for me. Then I'm only able to color this part here. Okay? And then I created a small gradient like effect to the hair to make it a bit more suitable for the drawing, but that is maybe a bit more advanced. So play around with the lighting now and create a lighting layer for different objects. At the end, it should look something like this. Okay, so the lighting layers now on and off, some of the eyes have something, skin have something. And you can play with the colors and also where the light hits regarding your character and just have fun with it. Now, if you're curious on how did I create this little effect to the hair? It super, super simple. New layer, clipping mask. Select an airbrush. More than likely your art software does have an airbrush. All you need to do, select a super big sized airbrush and start coloring. And that's it. And all I did was selected different kinds of colors, something to blend, the lighting to the hair. And that's it. That's all I did. Nothing else. So super, super simple. But yet again, with correct color choices, you can make very good looking effects for your drawing. So that is lighting that you should not do for the drawing. Now, I have a secondary lighting which is coming from the right side of the drawing or from the right side of the character. All you need to do is create a new layer. I have set it, as you can see, now, the opacity is different. It's 90%. And the reason why this layer is on 90% because I wanted the underlying colors to show through. So that is the reason why I decrease the opacity to 90. It could be something else, like, I don't know, 60% or something, but I liked the way it looked on 90%. And yet again, you can see that I have a layer that is filled with color precisely for the reason that I could say that I want to add something here. All I need to do is just add. It's always with the right color that I picked, you know, like before. And I don't have to worry of having to search for the right color that I've used before. But because I have a layer and that is filled with a color that I like, I can just go to the layer and start drawing super, super simple. That is, with the secondary lighting. Secondary lighting usually works best when you are applying it to the shadows. So e.g. in my drawing, you can see that this area here is filled with shadow. Same thing here. This is filled with shadow. Now let's switch colors or something that you can actually see. Now you can see these parts are filled with shadow when we are applying the secondary lighting for those shadow parts, as you can see, it looks pretty darn good. Now when you've done your lighting, you are ready for the next lesson. 13. Drawing Gradient Effects: Hi there and welcome to the next lesson. Now, in this lesson, I will show you how to use gradient effect with an airbrush. So you can create these nice effects for the scheme e.g. so all we need to have is an airbrush that is, has no edge in it, so it's super, super soft. So hopefully your art software hasn't brush. That is called airbrush and it doesn't have any edge on it. So please do select an airbrush to your self, create a new layer, create a clipping layer. And all we need to do is selected skin color. And what I usually tend to do is just move to a lighter color. And that's all. I select a very large brush and draw these few brush strokes. And that's it. As you can see, we now have kind of like a gradient effect for the scheme. And when we apply the shading layer, it looks pretty darn good. And all the other layers. And you can see that we have a very nice gradient effect for the skin. Now, if we wouldn't have that gradient like effect to the skin, the skin could look a bit boring. So when you have a large area of one color, like the skin we have here, like the face area and then neck area. It's very huge area of one color. So in these cases, I suggest to experiment with the gradient effect. And if it will bring something to the drawing or, or does it take away something from the drawing? In most cases when you have large area with one color, I suggest to create small gradient effect to the layer or to the drawing to make it more interesting and varied with the colors. But that's actually all for this lesson and I will see you in the next one. 14. Coloring And Shading Background: Hi there and welcome to the next lesson. Now this is about backgrounds, and I'm not that good at drawing backgrounds. I can already admit that, but that is something that I'm practicing and trying to make trying to get better at. But now we have a white background, it doesn't have anything. So let's go through how to create something cool for the background. And all we need to do is start with some color. And usually what is suggested is that the background color is first created and then the colors for the drawing, because the background usually gives the vibe and mood for the drawing. But I don't know. Sometimes I just go for the colors for the main character first or main objects first, and then implement a background color that is suitable for the object that I'm drawing or is the main object. But you can do this both ways. First background color, then the main colors for the, for the character or the other way around. It's up to you. Yet again, I think there's no right or wrong way to do this because in cell shading, we can so easily change all of the colors in the drawing. So I guess that's a benefit in our style to just do in which order we see fit. So what I did here was I created a small grain and like effect to the background. As you can see, it's slightly changed the way the drawing looks like. I could have created a gradient layer, but I didn't do that. The reason why I didn't do that is because with brushes, you are able to create more verite movement and flows of the color. So with when you are using gradient map or gradient layer, it's creating weather like linear gradient or than some round gradient. In this case, I wanted to use brush. So that is what I did now with the shadow. Yet again, super, super simple. All you need to do create one layer. And as you can see, are yet again have a color layer on top, clipped to the layer below. And then I just draw the center shadows where I thought a shadow could be in the lighting situation that we have here. And another shadow just to emphasize certain parts. Lighting the same thing, green layer. So that is what you should do in this lesson. Draw the background super simple create folders, needed layers. And in my case, I could easily switch the color to something else like bright pink or I don't know, dark blue, whatever. So it could be anything you want and then just go from there. And I can say that the dark blue background actually looks pretty good. So that is yet again, a thing that you could do in cell shading when you have certain layer and folder structure you are, you can easily switch the vibe of the drawing. But that is only if you have certain folder and certainly our structure. And that is what I have been teaching you this far. Okay? So that is the thing that you should not do. Do the background. And you know, when you have the background color, you can just go to the color layers and think like the skin be something else, like blue or what could it be like? It can be anything. And just experiment with the colors now that you have a good layer structure and everything. Yeah, let's just do these things and try out different things because it's super easy to just try out different colors and see how they work together. So, yeah, that is the thing that you should next do. 15. Finalizing Your Drawing: In this lesson we are finalizing the drawing. So at this point you could have something similar in front of you. So this is kind of like the final shading lighting composition. Everything is kinda like now done well, this is almost ready for me to publish to online or do something else with this, but this is pretty much done. But there are a few key things that I tend to do with my drawings. So first, what we do is create a new layer from the visible layers, merge, visible to new layer. This option is available in Adobe Photoshop. So do check your art software. If you have this kind of option available for you, hopefully you have. So what I did is just a created a new layer from all the layers that I see below. Okay, next, I'll duplicate the layer. I go to Filter Blur, Gaussian Blur. Select S6 six is pretty good, and that's it. Next, I do duplicate this layer, set it to soft, light. Soft light. And it will emphasize the colors quite a lot. I tend to use something like 20, and as you can see, it emphasizes the colors. And the next thing that I do is I select it blurred layer, duplicate that layer, put it on top of the soft light layer. Select Filter Blur, Gaussian Blur. And this time I select something like 120 is to grow Okay? And click Okay. So now you can see that then drawing probably doesn't look that good. It's pretty blurred. Now, that's the whole thing here. The next thing that I will do is I select the layer and put it under the soft light layer. Next thing that I will do is just select the opacity, the 30 per cent. And as you can see, this would be without the blurred Canvas. But as you can see the 120 blur, gaussian blur is pretty strong. But when we get and go to 30%, switch it to below. The effect is pretty darn nice. I will give you a very soft like effect to the drawing, and that is pretty much done. Now the drawing is truly finalized and the last thing to do is to have a signature for the drawing and now it's done. So that's it for this lesson. Now the drawing is pretty much done. And in the next lesson, I will go through different scenarios to take your drawing, to. 16. Different Options For A Drawing: Hi there and welcome to the next lesson. Now this lesson is about different options. You can take your drawing too, and you can see that the drawing is still the same, but the coloring scheme and lighting is very different. So let's go through what is different here. So the first thing you probably notice is that the light source is actually here. So this is the light source instead of coming from above. Even though I have still included a light source from above. Because you can see that we have shadows here. And here. Pretty much the same shadows that I drew for the other drawing, but here it's a bit different. So the main light source is actually this. And what this creates is a very nice effect for the hair. And while you might think, well, how do I draw this? It's the same thing. You create a new layer, and then you just create a lighting layer. And I will leave this to you so you can study the structure of the drawing by herself. But it's the same principles that I have taught you already. All you need to do is create a strong light to a very dark image. So the image it's in itself is pretty dark. Lighting is super strong. So that is the reason why we have this kind of result. Strong light source, strong lighting, dark image. Okay, so that is how I drew this drawing. So let's check another one. So this is a very different one. Okay? So the light source isn't here anymore or it's not on the top anymore. It's actually here. And it creates a lighting or shadows to the face from a different angle. And this creates a very different kind of looking image. As you can see, the lighting is here and the shadows are now kind of like inversed. So before we had shadows like here and here and here. But now the shadows are actually here. So it's a very different kind of looking image. One of the principles are always the same. Layer structure is always the same. The way I do. And I want to show you this, the way I do these effects is actually pretty simple. Yet again, it's just creating different elements with layer modes. This is screen layer mode. And if you're wondering, well, how did I create this flare effect? I will show you only need to do is select a, some color. And in my case, I will use a ruler. So let's create a circle. Then. What I did was I selected a airbrush, created a small glare or flare effect, put it to screen. There we go. Then what I did is created a new layer screen. And then I create the layer effects. Super simple, just lasso tool. More these glares. You can see I use the same tools. There we go. Reduce the opacity if we want to. That's it. And all I needed to do was play around with the colors, play around with the opacity. And just think where the light source East and where the light is coming and what could be the brightest spot and so on. And then no, it's just focused on that. That's the brightest spot is roughly here. Or then you can create the brightest spot to be something else like it could be the thumb or it could be the horn or whatever. So play around with the image. But this is one version of what the drawing could be. Same character, same background, different light source, different shadows, but still the same theme and object. And if we zoom in quite a lot, you can see that these hairs like they are blending in so nicely and everything. How did you do that? The way I did was I colored the line art. So as you can see, the line art is It's dark in this spot. But when we go to the lighter spots, I have colored the line art very light color, so it will blend in to the hair until the light source. But as you can see, the technique is the same, using just color in different places and thinking like, okay, well, if this is super bright light source, then probably the surrounding elements should blend into the bright colored object. Now, as I said before, this could have still mistakes and things that I could make better. And, you know. Just work differently, but I'm happy with the result that I now have here. This is the fourth version or third version. So as you can see, this is very different from what you have already seen with these two examples. So in this case, I wanted to do a very saturated image. As you can see with these, we have more muted colors, not so saturated. This drawing has a bit more saturated colors, but this drawing is a lot about saturated colors. Okay, so what are the key things to note here? One is that the face has a gradient like effect because it's a large area of one color. I prefer to divide that too. Few shades, some hue or whatever. Okay. Same thing with the wing. It has different shading color. So it has lighter shading on top and then a darker shading or below. Another thing to note from the background line art is that it's colored blue. So it's a very different color, but it blends in very nicely. Same thing here with the hair line or this barely visible, which means that it blends in with the, with the background color, creating a very smooth effect for the hair. And it feels like it's truly like living with the background, even though we have very saturated colors, very strong color combinations even. But it still works very well together. And one thing to note here is that I've selected a yellow I flash, which again creates a very nice element for the drawing because it's very bluish, aqua like or, you know, violet hair, pink. But then we have yellow on the ice. And I think it's a very neat trick to emphasize their eyes a bit. But here's the thing. You can see that the colors are very vivid and surreal. But the thing with these drawings is that you can play around with the colors and they can be anything you want them to be. And as you could see, with these different examples, they are all the same image with different kind of color, shame and lighting and everything. But they still work together very nicely. Yeah. Do have fun with the drawing. As you can see, with these different versions, they all work, but they do look very different. I'm briefly wanted to go through a black and white colored drawing. And what I want to say here is that emphasize the line art because that is one of the key things in these kinds of drawings, in my opinion. And also do use different shades of gray when you are doing black and white color drawings. But that's all I have for the black and white just emphasized line art. And then different shades of gray already make the drawing look very nice. So yeah, that's it for this lesson. 17. Final Thoughts: I wanted to do a final thoughts our wrap-up video just to emphasize the certain parts of coloring and shading and MAR, as you already saw the tools and brushes that I used, pretty much worse the same all the time. I only use like two coloring brushes, like one super solid brush and in airbrush. And then I use the lasso tool and sometimes the field who, when I do the shading and so on. But the tools are very limited. So you don't need necessarily a lot of tools, a lot of brushes to create awesome looking art. And my suggestion is that do get deep knowledge on the tools and brushes that you use. Because when you know how they work, you can more efficiently work through the image and then the drawing. Now what you should also remember is the drawings develop over time. So what I did previously like, like years ago, was that I just drew a character and white background. That was kinda what I did because I didn't know how to draw background and I still struggle on that, but I'm still learning and trying new things and over time I will develop my skills and so do you. So the more you draw, the more you do shading and coloring, the better you get at it. And when you use the same tools, brushes and those kind of things in your mind can expand other areas and you don't have to worry about how to use tools, rushes and so on, because you know how they work so your mind can expand on the areas that are new to you, like using different colors schemes are different shading techniques, but with the same tools that you use. But yeah, maybe the biggest thing here is to practice, practice and practice and just draw color, shade more and more and more comfortable you get with the whole process and coloring and shading process, the easier it will become to you. So yeah, thank you for taking this class with me, and I hope you continue coloring and shading your anime art in the future too.