How to Change Line Art Color in Clip Paint Studio

May 10, 2022 Post a Comment

For this tutorial, I'yard going to demonstrate how to use Clip Studio Pigment'due south Anti-overflow and Expanse Scaling functions. To do this, I will use the linework below of the graphic symbol Yooka from my full-color graphic novel Yooka-Laylee and the Kracklestone based on the video game Yooka-Laylee.

1. Coloring Flats

I'll start by cleaning up the sheet and getting rid of the pencil lines on the layer underneath the linework. Then, I'll make a new layer over elevation of the linework layer for coloring.

Adjacent, I switch over to Marker located under the Pen sub tool palette and select the Fill-in mono pen tool option as shown in the image below. Personally, I continue this pen anti-aliased when I draw. I don't worry about aliasing because I create full-color comics, so it's not terribly important for me.

Next, with my colors roughly selected for my line art of Yooka, I will go over how to take advantage of Clip Studio Paint'due south anti-overflow feature. Start, nosotros will need to scroll further downwardly the tool'southward property palette of the Fill-in-mono pen tool located on the left side of the screen and select the "Do not exceed line of reference layer" option located merely nether "Stabilization." Checking the box next to it turns it on. Additionally, clicking the small wrench icon in the lesser right corner of the tool's property palette volition open the Sub tool detail window. In this window, nosotros can observe the aforementioned "Practice not exceed line of reference layer" option under "Anti-overflow" which is located at the bottom of the left side of the listing.

Once I have confirmed that it'south turned on, I'm going to select the linework layer from the layer palette. With it selected, I will then click the lighthouse icon on the upper part of the layer palette. This is the "Set up as reference layer" icon. When I click this icon, the selected linework layer becomes a reference layer that the color layer volition refer to as I cake in the color.

Side by side, I will use the mark tool to color in the head. We tin can encounter that the color will at present non exceed the linework fifty-fifty if my cursor paints past it.

We could use the paint bucket tool here as well to fill up in the colour, only I use the mark instead. Sometimes line work will take gaps that are a little fleck bigger than the paint bucket tool'due south Close gap feature can accommodate. As a outcome, I don't rely on it too much because often when I work with line art, I but want to colour a portion of it and not a whole enclosed expanse. For example, maybe I only want to color half of his head dark-green and then use a different color on the other side. Using the marker allows more control and flexibility to color the same expanse with multiple colors as I become, while still limiting the color to within the line art.

*The Close gap feature is located in the Paint bucket sub tool detail palette under Fill.

With Yooka's face color complete, permit's move onto his crest colour. I colour them using the aforementioned method as earlier. You lot tin can see in the images below that there is a little bit of white coming through at the corners of the line work here and there. In this case, nosotros can but switch over to the Pen tool and color those areas in.

Another feature I would like to cover is the Area scaling feature, which can exist establish in the sub tool settings. When using this feature, yous tin can calibration up the area you are coloring so that y'all are too coloring underneath the line art.

Here, I have the Area scaling set all the style up to 20. If I hide the line art layer, I can meet that the color is indeed going all the manner upward across, only within, the boundaries of the line itself. In the image below, I take lowered the opacity of the line piece of work. The grayed-out expanse shows the edges of the line, so you can run into how far the green goes under it.

Next, I want to bear witness y'all what happens when nosotros don't use that feature. I will make a new layer and make full in the crests again.

Do yous notice in the paradigm in a higher place, there is a white ghosting edge around the line work? This is a really large trouble for printing. Sometimes the plates get a petty offset, and so using Surface area scaling takes care of that potential printing issue.

After adding the flat colors, I move on to shading. A technique I notice especially helpful is to adjust the maximum size of the brush itself while you paint. For example, when shading around the eyes, I'll compress the size downward of the brush to fit in the difficult to accomplish areas.

Note: The default brush size adjustment shortcuts are the left and right brackets ("[" and "]".)

two. Bounced Light

Next, I'll show how I practice bounced light. Let's imagine that this is a sunny scene, perhaps he's standing over a puddle of water that'due south reflecting a vivid blue light support to him. Creating a new layer higher up the shading layer ("Layer 6" beneath) with the Blending mode ready to Screen and irresolute the colour to aquamarine, I start painting the underside of the grapheme.

Because the layer is ready to Screen and is placed over the shade layer set to Multiply, the castor color is added to the shading. While painting, I think virtually light that's shining up. This is basically what bounced light is. You can come across this hands too: if you were to enter a very brightly lit room or a sunny day and hold your mitt over something, you'd see some lite reflected from the footing on your palm. I like to exaggerate bounced light a little, to become as much every bit an consequence as I can while likewise creating a very realistic environmental illumination.

3. Ambient Occlusion

Ambience occlusion is a CG term and normally doesn't apply to traditional art. Yet, it is applicable when working in 3D space, and is an extremely absurd effect if done right. The thought of ambient occlusion is that in that location's a deeper shadow where objects are close together. Imagine the corner of a room; the corner of the room will be darker compared to the remainder of the room, as if light can't really get into the crevice as tightly as information technology could otherwise. Frequently, I'll do this on a multiply layer, adding in shadows that go over the line art to intersections, which add just a little more realism to the slice. Even if it's using cartoony shapes, information technology's skilful to increase the realism because yous won't take to limit yourself to the flat effects that you lot get with traditional comic shading. Simply by adding ambient occlusion, you can add hints of realism to the coloring.

Above: You can see additional shading, or ambience occlusion, in the correct epitome around the corners of the eyes, the rima oris, and along the heart socket.

Creating a screen layer, I'll pigment the highlights with a harder brush with low density. Painting the contrary of a bounciness light; that is, painting highlights where sunlight will hit, I adjust the size of the brush to create hard, sharper lines.

With these lines we can betoken texture, as the texture of the eyeball should be different from his skin. Similarly, we can add harsh highlights to the peel beneath his eye to brand information technology shinier, indicating perspiration.

Finally, I'll add colour to the lines. If y'all look in the layer palette, you'll see an pick called Lock transparent pixels. If I click on that option, any painting applied to the layer will be limited to the line itself.

First, I'll select a color that's like the primary fill colour. I'll than darken that color and go over the whole layer with a large pen brush to apply the colour evenly and create a base color. After that, I'll go into individual sections and color the lines to lucifer the surrounding area. For example, the cherry-red of the crest and bluish of the eyes would be used every bit a base to color the surrounding lines.