Transcripts
1. Welcome!: Hi and welcome to our Clip Studio Paint intro to comic and manga tools class. In this tutorial,
we'll be covering several key features
and tools that you can use to create your own digital comics
and manga illustrations. This is meant to be
an introduction. So I will be touching
on each subjects most important and
basic tools to help you get familiar with the interface and get straight to creating. My name is Asia and I've been a freelance illustrator
since 2014. Here's some of my work. This class for beginners new to the Clip Studio Paint software, and also for experienced artists making the move from
traditional to digital. First, we'll cover
creating your print file and the importance of the
bleed trim and the safe zones. Then we will cover how to load your pencil on paper sketches
into Clip Studio Paint, and then create onion layers for finding and
tracing over them. We will also talk about
the panel tools and creating frames and folders
with the Clipping Masks. Inking is an important step in the comic creation process. And so we'll cover how to
best use Clip Studio Paint, vector layer capabilities
for your project. Next, we'll talk
about speech and texts and how to create and organize them
within your file, as well as how to set up your default settings for
formatting your dialogue. Then we go to
coloring and tones. How to take advantage
of CSPs are numerous tools to make your workflow best
suit your needs. We'll also touch briefly on gradient maps and how
to use them to color. And finally, we'll talk about saving and exporting your file. I've graded exercises each
step of the way for you to follow along and upload your
work to the projects area. This way you can get feedback. How are troubleshoot? Whatever you have learned.
2. Getting Started: Creating Your Comic or Manga File: Once you're in
Clip Studio Paint, you're going to want
to click File New, and then you'll see a
few buttons up here. Project formerly use of work depends on what you want
to use your art for. So you have illustrations, web comics, comics, and z means. Then you also have the option to display
all these options. And at the last, you have the option to prep for
an animation file. We want to keep it
simple for now. So I'm going to
select comic use. Make sure to type in
your file name and as destination folder if it
shows beneath this box. If you're going to be
printing this out, then I use a preset size or custom size that
is appropriate to the type of paper that I have that my printer
already uses. Otherwise, you can also just use the typical IG or Twitter
sizes that you can get online. Whatever you choose, you can
always change this later. But I do recommend that you make certain what size you want to be working on to prevent
doubling the work later. You'll also see the bleed
and safe areas here, which I will be
talking about shortly. So resolution or DPI is really important for
scaling up and down and making sure details
don't get lost if you do decide to print or publish
bigger than you were drawing. I tend to work on
bigger resolutions from the get-go just to prevent
the loss of quality. It's easier to scale
your illustrations down than it is to scale up. Don't forget to set basic
expression color to color, unless you're working in black
and white or monochrome. Once you have this,
just click Okay. If it's your first
time printing than pay attention to the
bleed and safe areas. These are pretty much
guidance as to where and how safe your drawing will be
when it comes to printing. The safe zone is
the innermost box. I put my main characters and important dialogues
within this box. The bigger box is the TRIMP zone and the size of your paper. The outermost box
with these crosses, the bleed where you are, it can run off the page. I'm including a link to download a PDF showing what
these areas are. If you're not printing, you can also just turn this
off by going to View and uncheck in crop
mark and default border. If you change your mind
or make a mistake in the early stages of
your illustration, you can always go back
to Canvas properties and change your unit
of measurement, like from millimeters
to centimeters, two pixels, two points. You can also change
the dimensions by changing these two
boxes over here. You can also change
the canvas size here. So this is why it's really much easier and better
if you find out the dimensions for where
you're going to publish your art before you work
on too much detail.
3. Getting Started: Loading Your Sketches and Digitizing Drafts: I'll be using my
standard A4 format since it's my favorite to
work in and pretty common, you can follow along with
whatever size you need to use. And if you're unsure of how
to change the size again, just refer to the
previous videos because the
principles remain the same since sketching is a really important
step of the process, whether you have
the sketch pre-made and then need to adjust
it to the final size. Or if you're working from
an original sketch on paper or even starting
on a digital canvas, it's really important to take your time to lay everything out, to make big changes before moving into the tinier details. Since this isn't a how
to draw comics class, but more of a how to
use comics tools class. I'll go through my
drawing process a bit quicker and then I'll take more time explaining the
very basic but useful tools you can get started with. I'll show you how I
sketch into the file directly and then
show you how to load an existing file or sketch after I start with a
very rough blocking, you probably start differently. Sometimes I even
start using blobs. I normally start with bigger brushes to
get the gist of it. Csp has also mental tools
that you should be exploring. I provide a PDF with links to my favorite for UCSB assets. As I go to refine my sketches, I use smaller and finer brushes as I include more details. This is useful
because I can work on the major composition of where I want my characters
to be on the page. Perspective, what to
include in the background. And all before I start
adding the details. If I get stuck on the
details too early, that means redoing whole
sections or even whole pages. If you already have your
sketch ready and scanned and don't need to go
through the process of sketching right now. Then you can just go and
load it by going to File, Import Image, locate
your file and click OK. It will load as a smart object and it won't be transparent. You can adjust its opacity to give you an onion skin
effect if you need to, or if you're still cleaning up. If you already have the
line work in inking done. You can also use edit convert brightness to
opacity to give you a transparent layer with
only ink lines that you can actually just color
in using the fill tool. I'll show you how to do
that in later videos. If that option is grayed out, all you have to do is
convert your smart object or vector layer into a raster
layer for it to work. Once you have that, then you're
ready for the next step.
4. Panel Tools: Panel tools are the tools
that you use to create frames in your manga or comic when you're
creating panels, you'll notice that
they also create folders that contain and clip the elements within
that same frame if you want to stay organized. This is a fairly
decent way to be able to navigate through the
many layers of inks, texts, colors, and effects that you might be
creating in your comic. They also leave you
with the flexibility of only editing one
panel at a time versus having to
locate a lost layer every time I just
click on the frame, it isolates it with an
overlay over the frames. I don't need. This makes it
easier for me to break down big projects or pages into
smaller, bite-sized pieces. On the tools panels on the left and the
default workspace, you'll see a little tool
here called frame border. Make sure you check
the draw border box though to see the lines
that you're creating. If you want to create a
frame with a specific ratio, you can do that in the tool
property menu by expanding aspect type and specifying whether you want it
one-to-one or free form. Creating frames gives you some
automated actions as well. It can create a blank
raster layer for you automatically with this setting
ready for you to draw on. And it also creates
a white background. Every time you
create a new panel, you can change these
settings here. I then start dividing my
panels by importance. As I create new panels, you'll see new folders are also being created in
the layers panel. You can then decide
how to reorder these according
to your workflow. Every frame folder
created also gives you a default ruler
indicated by this icon. You can turn this on
and off by pressing B or right-clicking
it with your mouse. You'll also see over here that
I have a panel that's not exactly a rectangle or a square that I would
like to include. I could just draw this manually, but the easiest way is also
actually the simplest. I just go back to
create a frame border, make that rectangular panel, and then head over to
cut frame Border tab. First I go to the gutters and make sure that the vertical, horizontal gutters
or even this changes depending on your style. Again, you can make it
uneven if you want or if you want something
more dynamic looking. You can also change the shape of the lines and how it's
actually divided, choosing the polyline
or curvy options here. If you choose to add
divide frame folder, it'll create new
smaller folders on the same layer level
as the others. But if you choose
divide frame border, it will allow you to
use the same folder but leaves spaces in-between
the division you made. This means drawing
a continuous image while having the gutters
divide your frames. Now let's see how to
transform and move panels. You can move the
frames with the gutter spacing in tech by selecting the layer or object and
moving the sides and arrows. Otherwise, you can
transform an existing frame without regard for the
space by pressing Control T or CMD T. Here's also where snapping
comes in handy. You can choose this option
so that your selections and objects snap to the guides
and borders like so. Lastly, you can also
just create a big panel covering the whole page and
cutting that up the same way. This is if you don't
want to manually align each panel every time, it is just an easier way
to divide everything while having all the outside
borders aligned as well. If that is your goal or style. If you want to draw
frames free hand, you also have the drop
frame border tool that you can use to draw
any shape you need. You can also adjust
the thickness of the brush and the
brush settings here. Also notice that as you draw
these free-form shapes, they still act like regular frame panels that you drew with the rectangle tool. They also collect information in the same way and create
their own folders. Just wear or how you
want it to appear by changing its position
in the layers panel. You can also leave space for bigger art that starts
in the background and appears here by
removing the frame and drawing pass the safe
zone into the bleep. This is optional, but a lot of artists use this
technique when they want their art literally
bleeding off the page and cut right where
the page ends. Now that I know how to
organize and divide my frames, it's time to get
rid of all of this and show you what it
looks like in my comic. I have put my sketch layer on the very top here so
that I can use it either as normal onion
skin or I can also multiply for tracing
and inking later.
5. Inking: Vectors and Vector Layers: The key to a smooth
workflow for me is always having a way out and having
nondestructive layers. E.g. I. Paint and color
on raster layers, but almost always ink or do
line work in vector layers. Separating them means I don't have to do
everything again, if I make a small mistake. If I was to ink and then
paint or color on this layer, I would only have a
limited number of Undo steps in traditional media, even less to almost zero. E.g. if I accidentally drew a line across this
face and ink and on paper, I would have to start the whole frame or even the whole page again on digital and
on a raster layer, I'd have to carefully erase my mistakes with
the eraser tool. However, with the use of vector lines and some
clever settings, I don't have to worry about
any of that, that much. This is why I love vector lines and inking on these
kinds of layers. I also have the
option of duplicating existing vector layers
and then having variations of lines
in case I want to see what it would look
like with finer lines, are thick, rough
lines, all by using just the available
default tools and the program using the object
tool or 0 on your keyboard. If you click on the layer you're drawing on and
click on the line, you will see points show up that allow you to edit lines after drawing them and to access
the correct line tool. Just press Y on your keyboard to edit those lines that
you just selected. For lines that are close
but not connected. You can use the
connect line subdue all to make them into
one continuous line. Sometimes, even if it's
connected, it's still messy. We can fix this by using the simplified vector
line sub tool and adjusting its settings here to reduce the number of points. Less points equals
simpler, cleaner lines. You can also avoid jittery lines by adjusting
your brushes stabilization. And that setting can be found in most brushes and pens
sub tool settings panel. I like to vary the
thickness of my line work. You can choose to process either parts of the
line depending on how big your brushes or you can choose to process
the whole line as well. To make it easier on process bigger areas of your ink layer. You can change that
setting by going to the sub tool panel and
ticking process whole line. You can also use the redraw vector lines
sub tool to move around lines that are already on your file without redrawing
the whole line itself. As you can see here, I'm just moving around
the parts of the hair, eyebrows that I find need a
little bit more character. My favorite tool of all
is the vector eraser. Toggle the setting and the
sub tool panel vector eraser. And then you will
see these buttons. Whole line deletes
the whole line and intersections delete
just the lines that appear after
an intersection. I normally use these to erase lines that go past
where I mean them to. I don't have to think about
erasing lines because the eraser only erases after
lines cross and intersect. So like if you have
lines going past, like someone's hair
or someone's skin, you don't actually
have to go in and erase it delicately,
pixel by pixel. Now, let me show you
another reason why I love vector layers by
hiding all of this and showing you Why
vector layers and vector lines are great
for inking and scaling. Let's create a vector layer here and draw a squiggly line. And then let's create
a raster layer here. Before scaling that up to
double its resolution. You'll see that on
the vector layer, the lines remain crisp and
straight and editable. While on the raster layer
you'll see a bit of fuzziness. If you want to maintain the
quality of your line work, then you can either draw on very high resolutions or
simply just use vector layers.
6. Exercise 1: Lining Everything Up: This exercise, you're going to load a pencil sketch into CSP, or you can use one that I've provided in the
resources section. Remember what you
learned in the previous section on how to apply opacity so that you
can use it as an onion skin. Once you have that,
you're going to go through what you've learned
about creating frames. Create a frame of the sketch
that you just uploaded, whether it's your own or mine. You can choose to use a
square frame or create a custom frame based on
whatever your needs are. Once you've created the frame, create a new vector
layer above or below your sketch
onion skin layer. Then using the brushes
that you've chosen in the resources
section or your own. Take the sketch
in your own style using vector layers
and vector lines. Once you've finished your
inked frame or comic, remember to go to the discussions area,
share your project, upload an image to get feedback from me and the
rest of your classmates. This instruction
worksheet is also available in the
resources section.
7. Text and Speech Bubbles: To add text and speech
to your comics. The first is the easiest, and that would be putting
the text above everything. So obviously this only works if you already
have your inks finalized and in one layer or already separated into
their own folders. I just add everything
here on top. As you can see,
everything is separated. You'll also see that these are
actually separate objects. When I click 0 or
the object tool, I can actually move them around together with their
texts and they go altogether in one
speech bold text layer. The second is if you're
finalizing your panels and want to keep everything still a little
bit more organized. Maybe you might change
your mind later. I would go back to
the original folders. Here, have them separated
and here you can see here you have the text
balloons all separated and they are clipped
at the edge. This is if you want something
really clean, really need. And if that's the effect
you're looking for, then you'll see that they're
empty because I normally put the speech bubbles first
give space for the text. Make sure not to like
obscure any details. E.g. here, I like having
them separate and in the panels so that I don't have 1 million texts bubbles
floating above. So let's start by
going to a new file. I'd like to show you
everything from scratch. You, it's a bit too high for
what I'm going to show you. If you have a blank
piece of paper here, all you have to
do, click on this, the Balloon tool or Teeth. Click and drag to fix the shape. Hold Shift if you want it to
be in a fixed aspect ratio. And it will follow whatever your foreground and
background colors are. Like undo. Click your foreground color
to be the outline color and then the background color
to be the fill color. And there you have it.
Not to add a tail. It's also pretty simple. Go to your balloon tool. Look for your sub tools
within the balloon tool, and then look for
the balloon tail. And there you have it. You can put in multiple
tails if you want. You can also use the Balloon
tool to draw the tail. If you want. Makes
it pretty simple. And then you also have
the thoughtfully tail, which allows you to do that. Now, you're seeing that
everything is in a straight line. To edit that, all
you have to go to is the sub tool of
the balloon tool. So click here. Balloon sub tool. How to bend and click
polyline or spline. Polyline means you can make
multiple lines and then you just press Enter
and it will go and it will end the drawing
where your cursor is. You can also choose spline that allows you
to create curves. And then when you press enter, it will end where
your cursor is. So pretty simple, just do that. Enter and then you
have a balloon. How do you put texts
in the balloon? That's quite easy. You have to do is
click the text tool. Click within the balloon
and start typing. To edit that.
You're going to see the sub tool property
show up in the panels. And then you can
choose the font. Here. The size. Nothing will change if you don't select what you're
trying to change. So select this e.g. increase the size, increase, change the style
from left to right. Justification can also
change the text direction. So once you're happy
with what you're typing, just press the check mark, go to the wrench or the spanner and save
all settings to default. This will make it so that your text settings are consistent
throughout your comic. And you won't have to change the settings every time
you type something new. Like so. I put it in 330. If you want to go
back to the default, all you have to do is
click Spanner again, reset all settings to default. That okay.
8. Exercise 2: Make Them Talk!: Time to create some dialogue. In this exercise, I want you to add your
own speech bubbles and text using the tools you've just learned from
the previous video. Feel free to be as creative, funny, or dry as you want. And always remember to go
to the discussions area, share your project and
upload that image. This instruction
worksheet is also available in the
resources section.
9. Colors and Tones: Coloring is a bit tough to teach since everyone has their
own distinct style. I won't go through
color theory with you, but I will show you how to use the tools available
in Clip Studio Paint. You have various ways of
filling in your colors. You have the lasso tool, which you can then use
the paint bucket tool on. You have the brush tool, and you have the gradient tool. Let's go through each
one step-by-step. I want to start
with the fill tool. When I'm talking
about the fill tool, I want to talk about
It's too important. Sub tools, we have refer only to editing layer
and refer other layers. So let's see what
happens when we click on and use refer only
to editing layer. Go to your layers panel on an empty layer or
create one yourself. Try to use the sub tool, refer only to editing layer. And you'll see that
it fills everything regardless of the fact that
I have a layer for lines. Now let's undo that and then
go to the other layers tool. For this to work properly, you have to go to your layers, set one layer as
your referral layer, e.g. this is off. To turn it on, you
have to look at the lighthouse icon and set
it as a reference layer. Go back to your empty layer
and try to use the fill tool. Now, you'll see that it respects the boundaries that
your ink layer have set. Now let's see what the different sub tool settings are and how it affects how
you use the fill tool. So let's say you're only going
to use refer other layers. This applies to both sub tools. By the way, when you go to the Paint Bucket Tool
applying to connected pixels, only to show you what
this first setting does. Let me just color this quickly. And you'll see that it's
not a solid color because the brush I'm using has
opacity and texture on. So let's go back to
the paint bucket tool applied to connect
the pixel's only. If we choose a green color. And click on this, it will only color the blue area and still
respect the inks. Now if we uncheck
this and undo this, and you still have
both blue horns here. It will apply the color to all of your pixels that are
colored in the same shape. Now what does close Gap mean? So close Gap settings
are on high right now. So if I want to color
someone's leg here, it will act like this line is
actually part of the whole. It's not a perfect science, but it does help you
cover ground much faster. E.g. here, it closes
that small gap here. And e.g. for the eye as well, it won't work here because
the gap is too big. As you can see. Now, the lower the setting is, the less it's going to
read gaps as whole parts. So e.g. if you put it here, it's going to feel
everything here and only treat the smallest
of gaps as, as gaps. You can see there's
still a small gap here, so it's pretty much didn't
treat it like one whole part. So the trick is to
find a good middle. Here, here, or here. The trick is to find
a good middle and just experiment with
the settings as you go. But that's pretty
much what it does. Now. Tolerance,
this is easier to explain when you have
the color wheel. So if you don't have the
color wheel on, go to Window. Color Wheel. Whoops, I think
maybe it's Better. Yeah, the color wheel. So let's say you have one
here that is colored purple. Now that you're here
is colored magenta. And other here is
like bright pink. To one here is
colored blue, right? Tolerance merely means
the amount of colors that TSB recognizes as
being part of a whole. So if your tolerance
is set at zero, it will clearly delineate
two colors from each other, even if they're really
close in shape. Sometimes even too much. Your tolerance set to 100. It doesn't delineate
anything at all. And if you set it somewhere
in the middle a little bit higher than you have
something like that. Where it's the same
with the Lasso tool and the select tool. As you can see. You can see here, it treats this area as one because
they're really close in UN saturation to
area scaling has to do with the space between the lines and the colors
that you're trying to fill. So e.g. if your area
scaling is set to zero, it will cover your
inks up to the edge. But then it also gives you like this really jagged
pixelated edge. If you want to go a little
bit beyond, the ink, can just kick a
higher setting for the area scaling and click that and you'll see that
it goes over the lines. So the trick is to find the good in-between for what
suits your style. Let's go for five just
to see what happened. Or three? Yeah, three is good. You'll see that if you actually
go to the Layers panel, lower the opacity, you'll
see that it goes a little bit inside
the black lines. So that means you
have no white spacing in-between the color
lines and the glands, which is what you want
when you're printing. Well, what I want
when I'm printing, these two sub tools
are the basics and I would stick to
them until you're more comfortable
with the interface. Before moving on. Let's
move on to screen tones. Since this is more complicated. And if you want to
learn how to use the Brush Tools and the
other painting tools. Please refer to the first
video in my series, Introduction to Clip Studio
Paint for beginners. So screen tones, all you have to do to
create screen tones is create a selection.
E.g. this horn. Create a selection here. Then you'll see this
little toolbar pop-up. You want to do is keep
that selection going, create a new layer or work on the same
there It's up to you, but painting on your layers is a non-destructive
way of working. So once you have this
little toolbar here, all you have to do is
click on new tone. Change the frequency. It's really up to you. The lower the frequency,
the bigger the screen tones, the higher denser. You have density as well here. How thick you want it to be, what effects you
want it to have. And then you have the
different types of squares, lozenges, carrots, flowers,
it's sky's the limit. The angle you can also change
depending on how you want. Your screen does appear, whether you want them diagonal,
horizontal, or vertical. This also just makes it
easier to work in general, but just keep this
check for now. And then you see that
this is what happens. So the way that
this works is you are creating a mask here. And to edit that
mask, you go here. Click on B, makes sure
that this is not selected. Select the mask here
and edit as you will. So choosing a foreground or background
color, we'll paint. I will turn that screen tone into a layer that you can use to put affects or shading
onto your characters. Obviously, if you
want to erase things, just press C or
clear, which is here. And you can erase like so. How do you change the colors
of your screen tone pattern? You'll notice that
this is gray here. This is still black and there's no way to change it from here. So all you have to do is go
to Window layer property and play with these settings. So if you unclick tone, it will use the color that is set in your layers
panel here, which is great. You go back. Click that again,
it uses the tone, but if you also
click Layer Color, then it uses whatever, whatever color you are using
as your foreground color. Another way to change
it is to click on this bar layer color directly and change
it from here. Another fun way of
getting a comic effect is to go to your color layer, which this is mine right here. Let's remove those. So it's here. Go to Window layer property and because it's a
different kind of layer, it's not the same as the
masking screen layer. Different there. It's a raster layer. Go to Window their property and you can actually change it here. Hoarder, extract line,
toned, layer color. If you click on tone, you will convert all
of the colors that you have used into
different screen tones. So you can change
the settings here. I would just play
around with it until it reaches an effect
that you like. You'll see that there's a
little bit of change here. It's really useful if you
don't have a color printer and you're trying
to print a manga or something, as you can see, it's also not exactly perfect, so you need a little bit of fidgeting with this to
make it work properly. Actually. If you really want to go and see what you can do with
all of these halftones, you can actually get double. Your color layer, do the same. Here property converted
to half-tones. Then you will see here he said that on a multiply mode,
It's just a little bonus. You get a little
bit more texture, a little bit more
depth, and then you can actually just edit
from here directly. As you can see. You can also edit like how are, how the, how opaque it is. If you want just a little
bit of texture in your work. Pretty nice effects. Also kinda helps to bring your characters in-focus and keep the
background characters like, you know, a little
bit in the back. And there you have it.
10. Gradients and Gradient Maps: Let's learn how to use
the gradient tools. Here we have our
previous panel and I am creating a new layer
for the gradient layer, you can switch between
the Fill Bucket tool and the gradient tool
by pressing G on your keyboard because
they share the shortcut. I'm using the foreground to
background gradient tool, which means it will
follow whatever color my foreground is and whatever
color my background is. You can easily switch these by expanding the settings
and clicking Flip your main colors by going to the two boxes on the lower
left and clicking on them, which will bring
out a flyout window that gives you the option
to change the colors. You can apply gradients
in different shapes, e.g. this one is using
a linear shape. You can see a clear, distinct line between both
gradients are both colors. Then you also have
the circular shape, which gives you a nice
smooth line and an ellipse. You have to double-click
the ellipse so that it applies the gradient. You can also access these
by clicking on the arrow. Then you have the edge
processes which dictate how or where the gradient ends
or if they repeat or not. Do not repeat just gives you a crisp edge at the end of the gradient
shape that you made. Do not repeat gives
you this and it ends with your secondary color. Then you have repeat
which alternates between the main and secondary
color repeatedly. And then you have the
reverse, which does. The reverse, makes sure to
double-click on the shape that you want and it'll give you
this nice little effect. Snap angle lets you
customize the angle by which you make the
shape of the gradient. You can also customize
the settings for the gradient tool to create than automatic gradient layer. So you don't actually have
to create a new layer every time you want a gradient. It could create this layer with a gradient on it and
a mask automatically. But you can also still
edit by clicking on the mask thumbnail and erasing parts or covering parts that you want to display and uncover. Here's what it
would look like if I drag it out of the folder and used it as a regular layer, I can just mask or
unmask it as I needed. Tools. While not all tools,
but most tools come with the opacity setting. You can change the
opacity of your gradient here by dragging up and down, and also how it blends
with the other layers. Now let's learn about
another useful tool From Clip Studio Paint and it's
called gradient maps. To show you how I
use gradient maps, let me duplicate this layer and pretend I created this layer
purely in black and white. This is completely optional. You don't have to
do it, but it's a useful tool in case you
are feeling art blog, and don't know what colors to use when I have a specific color palette
that I want to use, but no idea how to
apply it to my work. I'll have to do is go to layer, new adjustment layer and
click on Gradient Map. I then choose one of my pre-made
palettes like this one, which I used for a
recent illustration. And just double-click
on it until it applies. You can then choose
between all of the swatches or
palettes that you have. An even reorder the
gradient that you have with this
button right here. And reorder the
gradient that you chose with this button
right here to give you a variety on the swatch
that you've made or chosen. Once you click Okay, you will see that you
have the gradient here and it created a mask again. So however you want to apply it, it's similar to what
I showed you earlier. You can click on the thumbnail itself and choose
the blending mode. Just experiment and see
what works with you. This will apply to
the layer below it. So if you also want to use it on your existing color layer, it's the same principle. It's a good way
to tie up colors. Now this isn't really perfect. I'm just trying to show
you what I've done. But yeah.
11. Exercise 3: Coloring: Now it's time to color
your ink page using any of the tools
that you've just learned from the
previous videos. Feel free to use
the bucket tool, the brush tool, the screen
tone and halftone tools, and, or the gradient tools
for any questions, leave them in the
discussion area so that I may be of assistance. If you're feeling experimental, try to use the gradient
tools as well to supplement your
coloring workflow. As always, don't forget to go to the discussions
and share project and upload that image
once you're done. This instruction
worksheet is also available in the
resources section.
12. Exporting Your File: With your project open
and Clip Studio Paint. Go to File, then select
Export, Export window. Choose the file format you
want to use for the export. Some common options
include JPEG, which is a commonly
used image format that is suitable
for most purposes. Png, which is a lossless image format
that is often used for high-quality graphics
or images with transparent
backgrounds or TIFFs, which is a high-quality
image format that is often used for printing
or professional workflows. I normally save as PNG, choose a destination for the
exported file by clicking on the Export to field
and selecting a directory location
on your computer. After you click Okay or save, adjust any additional
export settings as needed. Since you're just starting, I would leave every setting
on its default settings. Here you can scale your image down or up depending
on what you need. And then you can also
scale by resolution. Like I mentioned earlier,
it is much easier to scale down than it is to scale
up without losing quality. I'm going to choose to scale
my original image to 100%. And then I am going to choose
for illustration purposes. To my knowledge, for
calming purposes, compresses your image
down to optimize it for printing so you could lose a little bit of
information there. I stay with for
illustration purposes because I normally
publish online. Click Okay, and
there you have it.
13. Create A Project: With your project open
and Clip Studio Paint. Go to File, then select
Export, Export window. Choose the file format you
want to use for the export. Some common options
include JPEG, which is a commonly
used image format that is suitable
for most purposes. Png, which is a lossless image format
that is often used for high-quality graphics
or images with transparent
backgrounds or TIFFs, which is a high-quality
image format that is often used for printing
or professional workflows. I normally save as PNG, choose a destination for the exported file by clicking
on the Export to field and selecting a directory
location on your computer after you
click Okay or save, adjust any additional
export settings as needed. Since you're just starting, I would leave every setting
on its default setting. Here you can scale your image down or up depending
on what you need. And then you can also
scale by resolution. Like I mentioned earlier, it is much easier to
scale down than it is to scale up without
losing quality. I'm going to choose to scale
my original image to 100%. And then I am going to choose
for illustration purposes. To my knowledge, for
calming purposes, compresses your image
down to optimize it for printing so you could lose a little bit of
information there. I stay with for
illustration purposes because I normally
publish online. Gives you a little preview. Click. Okay, and
there you have it.
14. Thank you!: Well, that's our class. Thank you for joining me and I hope you learned
something new today. If you liked this class, please don't forget to
leave feedback and if you have any suggestions
or comments, please feel free to
send me a message or leave a comment in the
discussions area below.
Asia Noble, Pro Doodler
