Shes Art Clip Black and White Your Art Clip Black and White

Hello and welcome to my tutorial on digital graphic symbol painting! Clip Studio Pigment is a great program, and equally y'all'll run into, nosotros only need a few of its many tools to exercise a good-looking painting. Come across fig. 1.

fig one. The main tools and windows we'll be using in this painting

Earlier we brainstorm, permit me outline what we'll be doing. We'll be painting a character with basically human proportions, in total color. We are going to do information technology in two overall stages. Stage ane is a grayscale (or black-and-white) painting. We'll deal with blocking in the character and its overall design. Stage two is when we'll add together in the color and bring the piece to a rendered cease, fit for a portfolio or commission!

Stage 1: The Grayscale Phase

First, let'south beginning a new canvas. Get to File > New. Encounter fig. two for the settings I used, only feel free to use whatever settings y'all similar. Y'all'll now be confronted past ane of the scariest things in art: a blank white sail, *gasp!*

fig 2. My settings when creating the new canvas

Only never fear! This is precisely why we're using the grayscale-to-color technique: nosotros simply have to worry about values to begin with. Oh, by the way, 'values' and 'grayscale' refer to the same thing. Meet fig. 3.

fig 3. The grayscale

This makes our decision-making and so much less stressful at the first. So, let'south impale that white-sail monster with the 'Fill' tool. I selected a adequately calorie-free gray to begin with. I chose this value because I tend to want lots of room to become darker (to add together shadows and other nighttime elements), and simply need a little room to get lighter. Come across fig. 4.

fig 4. Filling the canvas with a light grey

Okay, it'due south time to showtime drawing. I grabbed the Pencil tool and chose the Rough pencil brush. The brush you select is not to be fixated upon; choose annihilation that you feel comfy drawing with. Prune Studio Paint offers so many corking choices for this, you lot nearly can't get wrong! See fig. 5 for my settings.

fig 5. My initial pencil settings

I block in a rough construction for my character. It volition be a young girl with her head tilted up. She'll be wearing a chapeau and glaze, as if going for a crisp winter stroll.

Notice that my lines are not simply outlining the silhouette; they are construction lines. I am building upwardly the face up with its major planes, thinking about the skull underneath and the general construction of the head.

The planes of the head are not the focus of this tutorial, simply are an invaluable matter all artists should larn, every bit the knowledge will enable y'all to draw the head from whatever bending.

If you are post-obit this tutorial and just experience like painting forth with me, feel free to but re-create or trace my drawing! After all, we are focused on painting technique here, not the planes of the head. See fig. 6.

fig 6. Roughing in a sketch

Switching to the Airbrush tool, I now cake in very basic value decisions: the character will be dark, and the background will remain low-cal. See fig. 7 for my Airbrush settings.

fig seven. Blocking the nigh basic value groups

I have two things to note. First, I am still working on simply 1 layer! Also, about my castor choices: I am always changing castor settings.

In fig. seven, y'all can see I take the 'Hardness' prepare low. I volition change that as I piece of work, based on the stroke I desire. For example, if I want to exercise some effectively piece of work, say, on the middle – instead of switching my tool altogether, I'll first merely try adding more than hardness to the airbrush.

This keeps the workflow moving, which maximizes the fourth dimension yous're interacting with your art, rather than fixating on the digital tools.

I likewise modify my castor size a lot, based on the stroke I desire. Fig. 8 shows how multiple castor sizes from the same tool produce strokes that announced to exist fabricated by different tools!

fig 8. Using the airbrush to achieve multiple looks

Still working with the airbrush, I'm edifice up some diffused lighting on the grapheme's face. I'm imagining the calorie-free to exist softly coming down from higher up. This means that the planes that face upward volition receive slightly lighter values in the grayscale, planes that face to the side will be a little darker, and planes that face downward will be the darkest. See fig. 9.

fig 9. Starting the modeling of soft light on the forms

I want the character to accept a slight tilt to her, equally to not be and then rigid. I merely made a option and used the tool'due south built-in widgets to rotate the head. See fig. 10. I'll and so only fill in the gaps that are left backside with the brush I already have agile.

fig 10. Adding small touches of asymmetry

I flip my canvass often every bit I paint. This is a holdover from my oil painting days, where I would accept a behemothic mirror behind me, which I could use to run into my painting flipped around.

The reason artists do this is that it momentarily "tricks" your brain into thinking it's seeing your epitome for the first time. As such, it becomes very obvious where the mistakes are. It also brings to light things you lot but get used to as you lot create something, for amend or for worse.

Because I am simply working on a single layer, I tin can get to Edit > Transform > Flip Horizontal. See fig. 11.

fig 11. Flipping (mirroring) the active layer

I desire to darken some of the shadows. I'll practise this with a special layer designed for that purpose! Add together a new layer with the push shown in fig.12, outlined in red. On the right side of fig. 12, I am choosing the Multiply mode.

fig 12. Making a new layer (left), and setting it to Multiply mode (correct)

This mode is specifically for darkening tones. And so, even if you have a light value selected, it will darken your image.

Choose light values to darken slightly, and dark values to darken dramatically. Nonetheless using that same airbrush from earlier, I apply some general darkening to the planes that face up downward, thereby increasing the dissimilarity and sense of low-cal on the planes that face up! Meet fig. 13.

fig xiii. Darkening areas to add together modeling and pattern accents to the forms

When you're washed with this step, I recommend committing to it with this button (fig. 14). This will get you back to working with one layer.

Note: You practice not have to combine layers. Sometimes information technology is helpful to keep your layers separate, so you can edit them later. The downside of that, however, is that information technology can commencement bogging you downward with technical decisions that may distract you from the act of drawing and painting. This is why, generally, I will choose to combine layers and piece of work on the fewest layers possible!

fig 14. Committing to the layer

Now I desire to brand a layer to handle some lightening of values. I'll add together a new layer, but this time I will set it to Glow Dodge fashion (see fig. 15.)

fig 15. New layer gear up to Glow dodge fashion

This is like the contrary of Multiply mode: picking a nighttime value will only slightly lighten the values, and picking a light value will dramatically lighten them. Fig. sixteen is the consequence of painting on the layer. I kept the castor soft, equally to imitate very diffused light coming from the environs.

fig 16. Painting in some light

Now that the character is taking shape, I want to get some kind of groundwork/surround in at that place. I will go on it relatively abstruse, as to not distract from the character. I created this tutorial during an actual snow, then, inspired past real life, allow's suggest a winter wonderland! To make snowflakes, I will employ the Airbrush tool, but now with the Spray castor selected (encounter fig. 17.)

fig 17. Spray brush settings

I'll make some snowflakes, trying to keep them looking random, and too strategically placed so they practice not interfere with our graphic symbol too much. As usual, I will play with the Spray castor'due south many settings here, in order to create snowflakes of all sizes. Multifariousness is the central to making something announced organic! See fig. 18 for the result of this pace.

fig 18. Playing around with various snowflake sizes

Now I'll select the Blend tool, which allows me to blend and smudge the pigment around on the canvas, almost like a real oil or acrylic painting! I can achieve some of the furry texture for the woolly hat with this tool. Try using strokes that go in multiple, random directions.

fig nineteen. Using the Blend tool for some texture

And just like that, we are done with the grayscale/value stage! One matter to proceed in mind is that we practice not need to get to 100% completion at this step. Do not feel the demand to slave over this stage until it'southward perfect; relieve all those little details for the next pace, when we're working in color! I consider the grayscale stage completed when the lighting is believable, and we're using the desired range of lights and darks. Run across fig. twenty.

fig 20. Set up for color!

Stage 2: The Color Phase

Are you gear up for some colour? This is where this method really pays off, as our lighting, value, form, and design are already taken care of! We'll starting time by making a new layer and setting it to Color style. See fig. 21. This will preserve our value decisions, and simply glaze the colour on top.

fig 21. Making a new layer and setting it to Color mode

The powerof this approach will be immediately axiomatic. I'll begin past adding some red to the cheeks. Encounter fig. 22. I am withal using my soft airbrush for this footstep, though, as always, you may use whichever brush gives you the best results or feels right to you!

fig 22. The first colour stroke of the slice

You may have the question: which colors are appropriate for flesh tones? Well, that's a complicated subject field. The real answer is: peel is not one color, nor fifty-fifty one range of color. In fact, any color can be used for peel, depending on your desired palette and lighting. But if you're just starting out with skin tones, I recommend staying in fig. 23's range of colors for this stride.

fig 23. Getting all areas colorized, using this range (upper-right) of the colour bicycle

At that place volition exist a indicate where our current Colour layer runs out of usefulness, and you lot'll actually want your color choices to slightly bear upon the values underneath. To accomplish this, brand a new layer, and fix it to Overlay mode. Come across fig. 24.

fig 24. Making a new layer, setting information technology to Overlay manner

Overlay will glaze color just similar before, but also has the ability to darken or lighten values. Experiment to get a experience for information technology! See fig. 25 for my progress.

fig 25. The color withal being blocked in, notwithstanding using the Airbrush tool

When you isolate merely the color layers, the painting is laughable! It proves that the real heavy lifting is being done with our grayscale painting. (See fig. 26 – LOL!)

fig 26. The color layers without the grayscale painting (yuck!)

Working with my 2 colour layers (Note: you can always go dorsum to your original Color layer, and/or work both layers simultaneously) I will complete the color-glazing phase. See fig.27. Notice that, while there is color in our painting now, it looks … kind of bland, similar a coloring book, rather than a beautiful painting. That'south okay! We volition at present move to the finishing phase.

fig 27. Finishing the colour-glazing stage

To terminate this painting, we volition need to paint opaquely. That is, putting brushwork over summit of everything. We will now work with both colour and value together, for the first fourth dimension in our process. Add a new layer and keep information technology at its default Normal fashion. See fig. 28.

fig 28. Making a new layer, set to the default manner (Normal)

Quick note: Remember to keep flipping the canvas as yous work! Nonetheless, since you are at present working on more than ane layer, you will need to utilise a dissimilar menu option to flip all layers at in one case. See fig. 29.

fig 29. When y'all have more than one layer, utilize this selection to flip/mirror the sheet

Because I've placed this grapheme in a blue surroundings, I want the blueness from it to filter its mode into the light and color on the character. To do this, I will pick a fairly desaturated blueish (that is, a blue that'southward close to grey), and will press lightly with my tablet to bear on the planes of the character that face up (remember fig. vi!) Encounter fig. xxx for the areas I am choosing to add some blues to.

Keep in mind that, by pressing lightly with your tablet, you volition exist able to mix the colour on the canvas itself. Sometimes I will even "overshoot" the blueish in my color picker (that is, pick a color that'southward as well blue), but past pressing lightly, I get in at the desired mixture.

fig xxx. Using blues with soft tablet force per unit area to cool off some of the flesh tones, mixing the color on the canvass

At this point, I will commit to my layers. I have combined them down to just one layer. Don't be afraid of doing this! Information technology may experience scary at first, but over fourth dimension it is really helpful for building confidence. However, if you are shy to commit and lose your layers, I recommend saving the file before combining layers, then save a new file where you go alee and combine everything. That style yous tin e'er go dorsum.

fig 31. Flattening the layers (don't exist afraid!)

I idea freckles would fit this character. Using the Spray brush from the Airbrush tool (the aforementioned tool I used for the snowflakes), and on a new layer, I'll spray in some freckles. Because I did that on its own layer, I can soften the issue with the layer's opacity slider (run across fig.32.) I tin can as well use the Eraser tool to eliminate freckles I don't want.

fig 32. Blocking in some freckles on a new layer

I'll now switch to some different brushes to help the painting await organic and traditional (which I feel looks more lifelike and interesting.) I'll select the Watercolor tool and utilize the Watercolor castor. Come across fig. 33 for my settings. This brush will both employ color, as well as rub or smudge colors that are already there. Look at the hair on fig. 33 to see this effect on the painting.

(Note: I am just able to achieve this smudging upshot because I am working with everything on a single layer. If you were using this tool on a separate layer, it will not smudge the paint on the layers beneath it.)

fig 33. A nice painterly style brush, allowing for some subtle color mixing

Bated from creating interesting brushwork, I am really focused on expanding my palette at this stage. Hair, for case, is made of a myriad of colors. My character has reddish-brown hair, only notice the subtle hints of blueish, and the variety of reds and browns (both saturated and muted) that exist, all weaving together! Meet fig. 34.

fig 34. The myriad of colors that be in hair

Moving back to the eyes, I'll use the Alloy tool to smudge the paint in the form of eyelashes. See fig. 35.

fig 35. The Blend tool used to paint eyelashes

I switched to the Pencil tool and chose the Colored pencil castor to create some harder brushstrokes that volition help acuminate the painting. I am using thin brushstrokes that move in the direction of the form. Run across fig. 36. This technique is commonly referred to as "hatching."

fig 36. Using hatching as a method of tightening upwardly the painting

I want some more than furry texture on her jacket and hat, particularly for the white-wool areas. And then, I'll add together a new layer, and notice an airbrush tool that allows me to spray on some texture. See fig. 37 for my settings and how I've applied the brushstrokes. Like I did with the freckles, I'll adjust the layer's opacity, likewise every bit erase areas to get the texture to "sit in" the way I similar it.

fig 37. A expert brush for simulating a furry texture on the jacket

See fig. 38 for our progress. We're getting there!

fig 38. Our progress

I'm e'er evaluating the rendering of the forms. I felt that her cheekbones could be a picayune more pronounced. I switched to a soft airbrush with a large brush size. I chose a deep, reddish colour, and softly brush in some darkening under the cheekbone, to assist the airplane change feel more pronounced. Run across fig. 39.

fig 39. Using a big airbrush to deepen the cheekbone area

As I moved toward the finishing strokes in the painting, I establish myself using the Circular watercolor brush quite frequently. See fig. forty for my settings.

fig 40. Another brush setting I utilise ofttimes

As I worked on this color phase, the snowflakes slowly got painted away. I now want to add those dorsum in! I'll apply exactly the same Spray brush settings as I did in the grayscale stage, simply this time I volition include color in my decisions. I want the snowflakes to be warmer than the blue background. Some of the snowflakes will be a very desaturated cyan-ish blueish (which is all the same warmer than the saturated blueish background!) while other snowflakes will have a yellow tint to them. I found it very helpful to include some very, very, large particles with the Spray brush, which helped simulate a depth-of-field effect! Come across fig. 41.

fig 41. Painting back in the snowflakes, using two separate layers

I'll finally zoom in on the pilus and paint in some individual strands. I'thousand using the Round watercolor brush (fig. xl) for this, with a very pocket-size brush size.

fig 42. Finally painting in some individual strands of hair

Fig. 43 shows the level of rendering I consider "finished" for this piece. Remember that yous are your own creative person, and will take your own opinions on how rendered you lot'd like things to exist in the last. Your painting can exist looser than this or tighter than this; the artful of your work is entirely up to you, and your artful sense of taste is only every bit valid as mine!

fig 43. A close up of the finished eye

Well folks, we did information technology – the painting is finished! Run into fig. 44.

fig 44. The finished painting

This is a very versatile arroyo to digital painting. You tin employ information technology to paint all kinds of characters, in all kinds of lighting, with all kinds of palettes – all with merely a few simple (notwithstanding powerful) tools in Prune Studio Paint. I hope you lot enjoyed following along with me, and I wish y'all all the best with your piece of work! This is Marco Bucci, signing off!

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