Introduction to Clip Studio Paint: Comic and Manga Tools Basics for Beginners | Asia Noble | Skillshare

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Introduction to Clip Studio Paint: Comic and Manga Tools Basics for Beginners

teacher avatar Asia Noble, Pro Doodler

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

    • 1.



    • 2.

      Getting Started: Creating Your Comic or Manga File


    • 3.

      Getting Started: Loading Your Sketches and Digitizing Drafts


    • 4.

      Panel Tools


    • 5.

      Inking: Vectors and Vector Layers


    • 6.

      Exercise 1: Lining Everything Up


    • 7.

      Text and Speech Bubbles


    • 8.

      Exercise 2: Make Them Talk!


    • 9.

      Colors and Tones


    • 10.

      Gradients and Gradient Maps


    • 11.

      Exercise 3: Coloring


    • 12.

      Exporting Your File


    • 13.

      Create A Project


    • 14.

      Thank you!


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About This Class

This class is an introduction to the Comic and Manga features of the illustration program Clip Studio Paint (CSP). This class will deconstruct the user interface of CSP to focus on the essential tools needed to start drawing your first comic. This is meant for beginners who are intimidated with the complex workspace and user interface of CSP - I'm here to show you it's not that scary!

If you have never used Clip Studio Paint before, you also have the Intro to CSP Basics interface class available here

This class is aimed at beginners new to comics creation in Clip Studio Paint's newest version, but it also still applies to older versions, curious artists that want to make the move from PS to CSP, or whoever wants to explore a new program in a quick and easy way.

If you want to make manga, comics, doodles, lineart, paintings, this class will teach you how to set up your comic or manga and show you the essential parts of the program that will help you get to the hardest part of drawing: making that first frame!

This is not a drawing class, but there will be a class created for that soon. You must have CSP installed. A free trial version is available on their website.

CSP is a cheaper alternative to Photoshop and Illustrator that often goes overlooked, yet it is just as powerful with a little bit of elbow grease!

The class includes:

  1. How to load your hand drawn sketches to create lines with transparency
  2. How to create your print file - what are the bleed, trim and safe zones?
  3. Panel tools and creating frames and folders
  4. How to ink your layers
  5. Vector layers
  6. Speech and text
  7. Coloring and tones
  8. Saving and exporting your file
  9. Creating your project files
  10. Exporting!

Meet Your Teacher

Teacher Profile Image

Asia Noble

Pro Doodler


Hi! My name is Asia (she/her), a self-taught illustrator and an active freelancer since 2014. My goal is to share what I've learned and make learning less intimidating to the absolute beginner. I've illustrated for newspapers, books, comics, and tech companies like Yahoo and Google. My preferred media includes ink, acrylic, digital paints (Clip Studio and Photoshop), and vectors (Adobe Illustrator)

I love creating classes that focus on accessible (read: affordable) software, workflow lessons learned the hard way, as well as write about the freelance life and the equipment I use. I spent my twenties traveling the world on a budget, and freelancing my way thro... See full profile

Level: Beginner

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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.