keep on Keepin on Clip Art Black and White

How-do-you-do and welcome to my tutorial on digital character painting! Clip Studio Paint is a peachy plan, and as you lot'll meet, nosotros simply demand a few of its many tools to practice a good-looking painting. See fig. 1.

fig 1. The primary tools and windows we'll exist using in this painting

Earlier nosotros begin, permit me outline what we'll be doing. We'll be painting a character with basically human proportions, in full color. We are going to practice it in two overall stages. Stage 1 is a grayscale (or black-and-white) painting. Nosotros'll deal with blocking in the character and its overall design. Stage 2 is when we'll add in the colour and bring the slice to a rendered terminate, fit for a portfolio or commission!

Phase 1: The Grayscale Phase

Starting time, let's start a new canvas. Get to File > New. See fig. 2 for the settings I used, but feel costless to use whatever settings you like. Y'all'll at present exist confronted by ane of the scariest things in art: a blank white canvas, *gasp!*

fig ii. My settings when creating the new canvas

But never fearfulness! This is precisely why nosotros're using the grayscale-to-colour technique: we only have to worry well-nigh values to begin with. Oh, by the manner, 'values' and 'grayscale' refer to the aforementioned thing. Run into fig. three.

fig 3. The grayscale

This makes our decision-making so much less stressful at the outset. So, let'southward impale that white-sail monster with the 'Fill' tool. I selected a fairly light grayness to begin with. I chose this value because I tend to desire lots of room to become darker (to add together shadows and other dark elements), and just need a little room to go lighter. See fig. 4.

fig 4. Filling the canvas with a light grey

Okay, it's fourth dimension to start drawing. I grabbed the Pencil tool and chose the Rough pencil brush. The brush you lot select is not to be fixated upon; cull anything that you feel comfortable drawing with. Clip Studio Paint offers and then many great choices for this, you almost can't get incorrect! See fig. v for my settings.

fig 5. My initial pencil settings

I block in a rough structure for my character. It volition be a young daughter with her head tilted upwardly. She'll exist wearing a chapeau and coat, every bit if going for a crisp winter stroll.

Notice that my lines are not merely outlining the silhouette; they are construction lines. I am building up the face up with its major planes, thinking almost the skull underneath and the general structure of the caput.

The planes of the head are not the focus of this tutorial, but are an invaluable thing all artists should learn, as the knowledge will enable you to draw the head from any angle.

If yous are following this tutorial and just feel like painting forth with me, feel free to simply copy or trace my drawing! Later on all, we are focused on painting technique hither, not the planes of the caput. See fig. 6.

fig 6. Roughing in a sketch

Switching to the Airbrush tool, I at present block in very bones value decisions: the character will exist dark, and the background will remain low-cal. Run into fig. seven for my Airbrush settings.

fig 7. Blocking the almost basic value groups

I have two things to note. Get-go, I am still working on only 1 layer! As well, about my castor choices: I am e'er changing brush settings.

In fig. 7, yous tin see I have the 'Hardness' set depression. I will change that as I piece of work, based on the stroke I want. For instance, if I want to exercise some finer work, say, on the eye – instead of switching my tool birthday, I'll commencement merely endeavour adding more than hardness to the airbrush.

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

I also change my castor size a lot, based on the stroke I desire. Fig. 8 shows how multiple brush sizes from the aforementioned tool produce strokes that appear to be made by different tools!

fig eight. Using the airbrush to reach multiple looks

Still working with the airbrush, I'm building up some diffused lighting on the character's face. I'm imagining the calorie-free to be softly coming down from above. This means that the planes that face up upwardly volition receive slightly lighter values in the grayscale, planes that face to the side will be a little darker, and planes that face down volition be the darkest. See fig. ix.

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

I want the character to accept a slight tilt to her, as to non be so rigid. I just fabricated a option and used the tool's congenital-in widgets to rotate the caput. Run across fig. 10. I'll so merely fill in the gaps that are left behind with the brush I already accept active.

fig 10. Adding small-scale touches of asymmetry

I flip my canvas often as I paint. This is a holdover from my oil painting days, where I would take a giant mirror behind me, which I could use to see my painting flipped around.

The reason artists practice this is that it momentarily "tricks" your brain into thinking it's seeing your image for the start fourth dimension. Every bit such, information technology becomes very obvious where the mistakes are. Information technology besides brings to light things you simply get used to equally you create something, for better or for worse.

Because I am only working on a single layer, I can go 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 practice this with a special layer designed for that purpose! Add a new layer with the button 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 (right)

This way is specifically for darkening tones. And then, even if yous have a low-cal value selected, information technology volition darken your image.

Choose lite values to darken slightly, and dark values to darken dramatically. Still using that same airbrush from earlier, I employ some general darkening to the planes that confront downward, thereby increasing the contrast and sense of light on the planes that face upward! Meet fig. thirteen.

fig 13. Darkening areas to add together modeling and design accents to the forms

When you lot're washed with this step, I recommend committing to information technology with this push (fig. 14). This volition go you back to working with 1 layer.

Note: You lot do not accept to combine layers. Sometimes it is helpful to go on your layers carve up, then you can edit them later on. The downside of that, still, is that it can offset bogging you downward with technical decisions that may distract you lot from the act of drawing and painting. This is why, more ofttimes than not, I will choose to combine layers and work on the fewest layers possible!

fig 14. Committing to the layer

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

fig 15. New layer set to Glow dodge mode

This is like the opposite of Multiply mode: picking a nighttime value volition only slightly lighten the values, and picking a light value will dramatically lighten them. Fig. sixteen is the result of painting on the layer. I kept the brush soft, as to imitate very diffused light coming from the environment.

fig 16. Painting in some light

At present that the character is taking shape, I desire to become some kind of background/environment in there. I will keep it relatively abstract, as to non distract from the character. I created this tutorial during an actual snowfall, so, inspired by real life, permit'south suggest a winter wonderland! To make snowflakes, I will utilise the Airbrush tool, but now with the Spray brush selected (see fig. 17.)

fig 17. Spray brush settings

I'll make some snowflakes, trying to keep them looking random, and besides strategically placed then they do not interfere with our character as well much. As usual, I volition play with the Spray brush's many settings here, in social club to create snowflakes of all sizes. Multifariousness is the primal to making something appear organic! See fig. 18 for the result of this step.

fig 18. Playing around with various snowflake sizes

At present I'll select the Blend tool, which allows me to blend and smudge the paint effectually 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 19. Using the Blend tool for some texture

And just like that, we are done with the grayscale/value stage! 1 thing to keep in listen is that nosotros do not demand to become to 100% completion at this pace. Do non feel the need to slave over this stage until it'due south perfect; save all those petty details for the adjacent step, when we're working in colour! I consider the grayscale stage completed when the lighting is believable, and nosotros're using the desired range of lights and darks. See fig. 20.

fig 20. Ready for color!

Stage 2: The Color Stage

Are yous ready for some colour? This is where this method actually pays off, equally our lighting, value, form, and blueprint are already taken care of! We'll first by making a new layer and setting it to Colour manner. Come across fig. 21. This will preserve our value decisions, and simply glaze the color on top.

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

The powerof this approach will be immediately evident. I'll brainstorm by adding some red to the cheeks. See fig. 22. I am still using my soft airbrush for this stride, though, every bit always, you may employ whichever brush gives you the best results or feels right to you!

fig 22. The starting time color stroke of the piece

You may accept the question: which colors are appropriate for mankind tones? Well, that'southward a complicated subject. The real answer is: skin is not ane color, nor even one range of color. In fact, any color can be used for skin, depending on your desired palette and lighting. Only if yous're just starting out with skin tones, I recommend staying in fig. 23's range of colors for this pace.

fig 23. Getting all areas colorized, using this range (upper-correct) of the color wheel

In that location will be a betoken where our electric current Colour layer runs out of usefulness, and you lot'll really want your color choices to slightly affect the values underneath. To achieve this, make a new layer, and set information technology to Overlay mode. Meet fig. 24.

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

Overlay will coat color only like earlier, simply also has the ability to darken or lighten values. Experiment to get a feel for it! Run across fig. 25 for my progress.

fig 25. The colour still beingness blocked in, still using the Airbrush tool

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

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

Working with my two color layers (Notation: y'all can e'er go back to your original Color layer, and/or piece of work both layers simultaneously) I will complete the color-glazing phase. See fig.27. Notice that, while there is colour in our painting now, it looks … kind of bland, like a coloring book, rather than a beautiful painting. That's okay! We will now movement to the finishing stage.

fig 27. Finishing the color-glazing phase

To finish this painting, nosotros will need to pigment opaquely. That is, putting brushwork over elevation of everything. We will now piece of work with both color and value together, for the first fourth dimension in our process. Add together a new layer and keep it at its default Normal style. See fig. 28.

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

Quick annotation: Remember to continue flipping the canvas as you lot work! However, since you are now working on more than than one layer, you will need to use a different menu choice to flip all layers at once. Come across fig. 29.

fig 29. When you accept more than ane layer, apply this selection to flip/mirror the canvas

Considering I've placed this character in a blueish surround, I want the blueness from information technology to filter its way into the light and colour on the character. To do this, I will pick a fairly desaturated blue (that is, a bluish that's close to grey), and will printing lightly with my tablet to impact the planes of the grapheme that confront (remember fig. 6!) See fig. 30 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 color on the canvass itself. Sometimes I will fifty-fifty "overshoot" the bluish in my color picker (that is, option a color that'due south too blueish), but by pressing lightly, I arrive at the desired mixture.

fig 30. Using blues with soft tablet pressure to cool off some of the flesh tones, mixing the color on the canvas

At this point, I will commit to my layers. I accept combined them downward to only ane layer. Don't be afraid of doing this! It may feel scary at first, but over time information technology is really helpful for building conviction. Still, if you are shy to commit and lose your layers, I recommend saving the file before combining layers, then save a new file where y'all go alee and combine everything. That manner you tin can e'er go back.

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

I thought freckles would fit this grapheme. Using the Spray brush from the Airbrush tool (the same tool I used for the snowflakes), and on a new layer, I'll spray in some freckles. Because I did that on its ain layer, I can soften the effect with the layer'due south opacity slider (run across fig.32.) I tin can also employ 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 dissimilar brushes to assist the painting look organic and traditional (which I experience looks more lifelike and interesting.) I'll select the Watercolor tool and use the Watercolor brush. Come across fig. 33 for my settings. This brush volition both utilize colour, likewise as rub or smudge colors that are already there. Look at the hair on fig. 33 to run across this outcome on the painting.

(Annotation: I am only able to achieve this smudging effect 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 prissy painterly style castor, allowing for some subtle colour mixing

Bated from creating interesting brushwork, I am really focused on expanding my palette at this stage. Hair, for instance, is fabricated of a myriad of colors. My grapheme has reddish-brownish hair, but notice the subtle hints of blue, and the multifariousness of reds and browns (both saturated and muted) that be, all weaving together! Meet fig. 34.

fig 34. The myriad of colors that be in hair

Moving back to the optics, I'll use the Blend tool to smudge the paint in the form of eyelashes. Encounter fig. 35.

fig 35. The Blend tool used to paint eyelashes

I switched to the Pencil tool and chose the Colored pencil brush to create some harder brushstrokes that will assist sharpen the painting. I am using thin brushstrokes that move in the direction of the class. See fig. 36. This technique is normally referred to every bit "hatching."

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

I want some more furry texture on her jacket and chapeau, particularly for the white-wool areas. Then, I'll add a new layer, and find 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 adapt the layer's opacity, as well equally erase areas to get the texture to "sit in" the fashion I like it.

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

Encounter 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 little more pronounced. I switched to a soft airbrush with a large brush size. I chose a deep, reddish color, and softly brush in some darkening under the cheekbone, to help the airplane alter feel more pronounced. See fig. 39.

fig 39. Using a large airbrush to deepen the cheekbone expanse

Equally I moved toward the finishing strokes in the painting, I found myself using the Round watercolor brush quite often. Run into fig. xl for my settings.

fig 40. Another brush setting I utilise frequently

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

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

I'll finally zoom in on the pilus and paint in some individual strands. I'm using the Round watercolor brush (fig. 40) for this, with a very small-scale castor size.

fig 42. Finally painting in some individual strands of hair

Fig. 43 shows the level of rendering I consider "finished" for this slice. Remember that you are your own artist, and volition have your own opinions on how rendered y'all'd like things to be in the final. Your painting can be looser than this or tighter than this; the artful of your work is entirely up to yous, and your artful taste is merely equally valid equally mine!

fig 43. A close up of the finished heart

Well folks, nosotros did information technology – the painting is finished! See fig. 44.

fig 44. The finished painting

This is a very versatile approach to digital painting. You tin can employ it to paint all kinds of characters, in all kinds of lighting, with all kinds of palettes – all with simply a few simple (yet powerful) tools in Prune Studio Pigment. I hope you enjoyed following forth with me, and I wish you all the best with your work! This is Marco Bucci, signing off!

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Source: https://www.clipstudio.net/how-to-draw/archives/158928

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