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Tag Archive for: tutorial
via IFTTT Hey, Guys a few months ago I got the iPad Pro 10.5 and tried it out. I thought it would be cool to make a review of it and let you all know how it worked out for me.
Tutorials, Reviews, and Artwork by Freelance Illustrator Brian Allen of FlyLandDesigns.com
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Buy my custom Clip Studio Paint brushes at http://ift.tt/2k3xziy
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To check out more of my work, or to hire me:
http://ift.tt/1iHMA4f
Follow me on Facebook:
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On Instagram:
http://ift.tt/2p6mPDN https://youtu.be/yDsalLCa2ZY
TUTORIAL 3 0f 3 – COLORING
VIDEO 3: https://youtu.be/10FCEL_Nv90
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Flats
- “Flatting” a piece consists of coloring the basic shapes of the illustration in random, unique colors to differentiate the different elements from each other in order to make quick selections when coloring.
- Once finished, you set this Flats layer as a Reference layer in Clip Studio Paint.
- Using reference layers makes coloring much faster, because you can use the magic wand tool to select quick masks of certain areas, without having to switch the layer you are working on.
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Create a Color Comp
- I always experiment with color BEFORE I begin working on the final piece.
- Duplicate your document and reduce to 72 dpi.
- Gather reference of great color schemes and environments for inspiration.
- On a layer set to overlay above all other artwork, experiment with different color schemes.
- Quickly (for just about 15 minutes) use a large soft airbrush to block in colors.
- Don’t worry about staying in the lines or coloring small portions of the illustration. Just focus on making color choices for the most important parts of the illustration.
- Because the image is small, and because you are being very loose and rough, this encourages you to take risks and experiment with color schemes you may not have considered.
- Once you’re happy with a color scheme, save the document as a flat jpg.
- Load the color scheme into Clip Studio Paint’s SubView pallette.
- This will now be a handy pallette you can use when coloring the real thing.
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Colors
- SETUP
- Open up your original document.
- Resize your main illustraiton to 300 dpi (previously set at 600 dpi for inking).
- Duplicate your Flats Layer and name it Colors (this is the layer you actually paint on), and keep it below your Line Art layer.
- Make sure Lock Transparency is turned on to prevent you from painting outside of the layer area and onto the background.
- Fill the Colors layer with one solid color
- Usually I like to use a desaturated blue with a neutral value.
- You don’t want the random colors you used for Flatting to distract you.
- Color in background with a solid color behind all other layers.
- COLORING
- Rough in background colors
- It’s important to block them in, because it sets the tone and contrast for the figure.
- I used my custom textured watercolor brushes to fill in the background quickly.
- Block in colors on character
- Attack the Local Colors first. Objects with a Local Colors are things such as an apple, which is generally accepted to be red when shown in white light. Local Colors will still be influenced by the color of the lighting, but identifying them early can help calibrate the color balance of your piece.
- Put in large gradient color fades to areas that fade from one color to another.
- Use a large soft brush or the gradient tool to put in large color transitions in the piece.
- I like to use a soft brush with a little texture in it, so that the color transition blends look more natural.
- Add hard edged cast shadows
- Set new layer above Colors layer, and set to Multiply
- Paint with a very desaturated, light value purple/blue color to paint the hard shadows.
- Follow the lineart, and add volume to the forms by hugging the edges with your brush.
- Don’t introduce a lot of rendering information at this point. Just paint in some of the midtones – let the line-art do the work for you and just compliment it.
- Use hard-edged brushes when cast shadows are more intense.
- Add Highlights
- The illustration at this point should look rendered, but a little dull and desaturated and a bit flat.
- The highlights and rim lights will do the final rendering, and help tell the viewer what to look at.
- Zoom in a bit closer now
- Merge the Multiply Shadows layer down with the color layer
- We will be painting over top of the shadows.
- Always be mindful of the direction and color of the lighting.
- Use the “Lasso Cut and Gradient” method to color sharp, high-contrast areas.
- Make a selection with the lasso tool, and use a soft brush to paint inside that area.
- The brush should be touching one edge of the marquee, but the fade should not touch the opposite end.
- Add Rim Light around the edges of the figure.
- Create new layer above color and line-art
- The rim light will be a slightly darker, desaturated shade of the color of the lighting itself
- Start with a soft brush around the edges of the form, and then use a harder edged brush with a brighter highlight along the edge.
- Finish background
- Keep it blurry and less sharp than the foreground figure.
- Create glow effects
- Add separate layer on top of all artwork and set layer to Screen Blending Mode.
- Punch up selected areas of the piece that need to be brighter and in focus.
- Use a darker, desaturated color when doing this, and press very softly so you don’t blow out the area and make it too bright.
- Lineart Knockouts
- “Knockouts” are when you color parts or all of the lineart so it isn’t just black.
- This is a really effective way to make areas appear brighter and to make the piece as a whole appear less flat.
- Set your line art layer to Lock Transparency to prevent you from painting outside of the lineart.
- Find the areas closer to the lightsource, and color the line art with a darker version of that color.
- Especially effective on background elements that you want to appear some distance away.
- Add Texture
- To add character to the piece, use grungy brushes and textures on a layer set to screen, multiply, or overlay (depending on the piece) and lightly paint textures in some areas.
- Adjust colors
- Take a step back and make final tweaks to the color scheme if needed
- Make slections with your Flats layer, and use Edit>Tonal Correction> Hue/Saturation to adjust colors.
- Add Atmospheric Effects
- Create a new “Effects” layer above all others.
- To add even more depth to your piece, find areas of your figure that would be farther back, and lightly paint over them with the color of the background.
- This creates the illusion that more atmosphere is between you and the object, and pushes it into the background, similar to the way mountain ranges appear to have less and less contrast as they go back farther into the distance.
And we’re done!
Thank you so much for following my tutorial. If you have any questions, please feel free to comment on my YouTube videos.
Brushes used:
If you would like to purchase any of the brushes I used in this tutorial, they are available at http://ClipStudioPaintBrushes.com
Follow Brian and check out more of his work:
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https://www.flylanddesigns.com
Follow me on Facebook:
https://www.facebook.com/brianallen.flylanddesigns
On Instagram:
http://instagram.com/flylanddesigns_brian_allen
On YouTube:
https://www.youtube.com/user/flylanddesigns
The Artwork:
For this tutorial, I decided to create a tribute illustration to one of my favorite animated movies, Wizards by Ralph Bakshi. I chose to illustrate the iconic poster from the movie, featuring the character Peace. I thought a rendering my own stylistic approach to an existing piece of artwork would be a great vehicle for a tutorial, because the foundation has already been set, and we can focus instead on the technique.
| Ralph Baksi’s original classic poster art. | Tribute illustration we will be creating in this tutorial. |
TUTORIAL 1 0f 3 – PENCILING
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Document Setup
- I set up most documents at 300 dpi 20×20.
- It’s very important that anything you are hoping to print be set up at 300 dpi. 72 dpi will print out pixelated, and will get too distorted if you ever need to increase the size.
- Create a New Window and shrink it to about 25% the size of your main window.
- This is a smaller live preview of your image that will help you keep an eye on your composition as a whole.
- VIEW>ROTATE/INVERT>Flip horizontal window.
- This will help you spot errors by having a view of your illustration mirrored.
- Better than photoshop because you’re not actually flipping the artwork, just the view of it, without m
- Set up separate layer groups for the sketch, pencils, inks (with pre-made action)
- Encourages me to take the time to rough and plan the piece first
- The Layer Color effect of each group is set to magenta, non-photo blue, and black respectively, so everything I draw in those layers will appear as that color.
- I set up most documents at 300 dpi 20×20.
- TOOLS
- Full list of tools https://www.flylanddesigns.com/faq-for-artists/
- Wacom Cintiq 24HD
- iMac 5K 27”
- Nostromo Razer Gamepad
- For keyboard shortcuts
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Gather Reference
- Do plenty of research before you start drawing
- Especially technical items that you may not have drawn before
- Getting them right adds a lot to your piece
- Do research on settings, environments, and lighting
- Gather inspiration for color schemes and styles
- You often won’t take essential risks unless you see that it’s been successful in another piece
- Encourages you to try things you wouldn’t have otherwise
- Reference is a tool
- Don’t become overly dependant on it, but don’t go without it either.
- Do not copy – use only for inspiration
- Do plenty of research before you start drawing
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Drawing the Thumbnail sketch
- Stay way zoomed out
- This will help you focus on just the overall shape of the design and avoid getting sucked into detail work
- Focus on skeletal structure and main shapes
- Make sure that your figure has a strong sillhouette
- This means, if your character was filled entirely with black, you should still be able to differentiate it’s parts, and it should look interesteding. If it looks like a big blob, you may need to make adjustments.
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Pencils
- Turn your thumbnail opacity down
- Begin drawing in the Pencils Layer group
- Flesh out the details and shapes, making sure to use a lot of circles and curved strokes.
- This drawing can still be really rough – main details will be accomplished in the inking stage.
- Don’t focus on the style of the lines yet, or line weights – just focus on the outlines of the different shapes.
- Once you have cleaned up your pencil drawing and constucted the main shapes, go in with hard pencil and clean up details
- You do not need to trace over everything – just the focus points that need work.
- This drawing is only a guid to help you in the inking stage. So you can skip over parts that you think you can handle confidently in the ink stage.
- Shading layer
Quickly rough in the mid tones with a broad shading brush on a layer above set to Multiply.
How to draw Lochness Monster for rock poster and t-shirt using Pentel Brush pen on paper.
Silk-screen poster illustration of a happy Loch Ness Monster I created for the band Lochness Monster. I had a blast working on this. The band gave me a ton of freedom on this design, and I came up with the idea of having the Loch Ness Monster looking friendly, with a severed arm dangling from its mouth, and the collected trophy/cameras of tourists hung around his neck. He’s an elusive fella! The design was set up for silk-screening using around 5 colors, created primarily for promotional posters and apparel for the band.
Video 3 of 3
This video shows how to digitally paint a colorful tiki head using my new set of custom Manga Studio brushes available for download for only $2.99.
100+ Brushes Available for $2.99 here:
https://www.flylanddesigns.com/shop/
Per request, I slowed this video down and added commentary to walk you through step-by-step the process I use to color a piece of artwork.
You’ll also hear tips on:
-Using the comic book flats method to color under lineart
-Using the Reference Layer tool in Manga Studio 5
-How to choose a proper color scheme from reference
-Limiting your color palette from the beginning
-What size and resolution you should work at in Manga Studio 5
-Why you should be careful not to zoom in too far into your illustration while working
-Viewing your artwork in a smaller, separate window to get a better composition
-How to color your lineart to add interest to your illustration
-Adding texture to a digital painting
-Adding sharp highlights to your pieces in the last step to increase interest
-Not being afraid to change the colors of your piece if they’re not working
I hope you find it helpful!
Please post your questions in the comments.
Video 2 of 3
This video shows how to digitally paint a colorful tiki head using my new set of custom Manga Studio brushes available for download for only $2.99.
100+ Brushes Available for $2.99 here:
https://www.flylanddesigns.com/shop/
Per request, I slowed this video down and added commentary to walk you through step-by-step the process I use to ink a piece of artwork.
You’ll also hear tips on:
-How to ink digitally from a pencil drawing in Manga Studio 5
-Converting pencil drawing to blue line for easier inking
-Always have a second window of your artwork open zoomed out at a small size
-What brush settings and brush presets I use when inking
-Start with the outlines or key lines when inking, and then go back in and add rendering and shading.
-Using the feathering technique to shape unique line work.
-Inking with quick, fluid motions to produce more natural, expressive lines
-Recommendation of the Razer Nostromo gaming pad for digital artists
-How to use the Lasso Fill tool in Manga Studio to create expressive ink shapes
-Being careful not too add too much detail and rendering – remember that you need to leave room for the coloring!
I hope you find it helpful! Please post questions in the comments.
Custom Manga Studio (Clip Studio Paint) Brushes –
Texture Brushes
100+ Brushes Available for $2.99 here:
https://www.flylanddesigns.com/shop/
There are over 20 texture brushes here that I created from found and scanned textures. All can be used with any color, and have fine-tuned settings to help you beat up your illustrations in Manga Studio 5.
This video quickly walks you through each set of brushes and shows them in use.
Included in the pack are
-14 Inking Brushes
-18 Paint Brushes
-12 Pencil Brushes
-5 Shading Brushes
-16 Splatter Brushes
-20+ Special Pattern Brushes
-22 Texture Brushes
The brushes are useful for all styles of illustration. As a freelance digital illustrator, I use them primarily for Comic Book illustration, t-shirt design, logo design, character and concept illustration, sketching, and painting.
HULK HATES FAQs!!
I get contacted a lot by aspiring artists, which honestly, is extremely flattering. I found that a lot of the questions were the same, so I put together this comprehensive Frequently Asked Questions section on my website at https://www.flylanddesigns.com/faq-for-artists/
Please let me know if you have any questions you want me to add, or if you have any answers to add (I’ll give you credit).
Importing multiple brushes into Manga Studio 5 can seem tricky at first, because it appears that you need to do it one at a time, which would be a nightmare if you have many brushes, which most of us do.
Here’s a quick and easy method to drag all of your brushes into Manga Studio 5 (Clip Studio Paint) and import them all at once.
100+ Brushes Available for $2.99 here:
https://www.flylanddesigns.com/shop/
How to digitally ink in Manga Studio 5 – Horror movie monsters and heavy metal character designs.
I illustrated this dark detailed illustration of an epic battle between Freddy, Leatherface, Nosferatu, The Excorsist, Frankenstein, Kirk Hammet, Ozzy, Alice Cooper, Corey Taylor, and more for a documentary on the history of Metal and Horror.
I was hired by Producer Mike Schiff of M.A.S. Productions to create an illustration of some of the most iconic figures in horror and heavy metal engaging in an epic battle. The image was used to promote a documentary they produced which explores the history of heavy metal music, horror films, and how the two genres have merged together over time.
The documentary features interviews with Alice Cooper, Kirk Hammett, Corey Taylor, plus a ton of other heavy metal stars, along with huge names in the horror industry. It was so great getting the chance to illustrate these iconic figures, including Freddy, Leatherface, Nosferatu, Ozzy, Alice Cooper, Kirk Hammet, and more. Pieces of the illustration were also used for an animation promoting the documentary.
Client Testimonial:
Incredible job on this. I knew you’d create something amazing , and holy crap is this good.
-Mike Schiff
Mas Productions
See clips from the documentary here:
http://www.metalhorror.com/
Support their Indiegogo campaign:
https://www.indiegogo.com/projects/the-history-of-metal-and-horror#/story
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This video uses a custom set of 100 Manga Studio 5 brushes available for purchase here for $2.99:
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MUSIC BY:
Roadside Funeral
Special thanks to the talented Jeremy Bratton for allowing me to use the tunes from his band’s new self-titled album. If you dig the tunes, please purchase here: https://roadsidefuneral.bandcamp.com/releases
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To check out more of my work, or to hire me:
Follow me on Facebook:
https://www.facebook.com/brianallen.flylanddesigns
FULL COMMENTARY WALK-THROUGH on how to color under line-art in Manga Studio 5
I illustrated this dark detailed illustration of an epic battle between Freddy, Leatherface, Nosferatu, The Excorsist, Frankenstein, Kirk Hammet, Ozzy, Alice Cooper, Corey Taylor, and more for a documentary on the history of Metal and Horror.
I was hired by Producer Mike Schiff of M.A.S. Productions to create an illustration of some of the most iconic figures in horror and heavy metal engaging in an epic battle. The image was used to promote a documentary they produced which explores the history of heavy metal music, horror films, and how the two genres have merged together over time.
The documentary features interviews with Alice Cooper, Kirk Hammett, Corey Taylor, plus a ton of other heavy metal stars, along with huge names in the horror industry. It was so great getting the chance to illustrate these iconic figures, including Freddy, Leatherface, Nosferatu, Ozzy, Alice Cooper, Kirk Hammet, and more. Pieces of the illustration were also used for an animation promoting the documentary.
Client Testimonial:
Incredible job on this. I knew you’d create something amazing , and holy crap is this good.
-Mike Schiff
Mas Productions
See clips from the documentary here:
http://www.metalhorror.com/
Support their Indiegogo campaign:
https://www.indiegogo.com/projects/the-history-of-metal-and-horror#/story
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This video uses a custom set of 100 Manga Studio 5 brushes available for purchase here for $2.99:
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MUSIC BY:
Roadside Funeral
Special thanks to the talented Jeremy Bratton for allowing me to use the tunes from his band’s new self-titled album. If you dig the tunes, please purchase here: https://roadsidefuneral.bandcamp.com/releases
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To check out more of my work, or to hire me:
Follow me on Facebook:
https://www.facebook.com/brianallen.flylanddesigns
Here’s an easy way to use the Adobe Photoshop Extract Assets feature to create multiple drafts for a clients review from one file.
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To check out more of my work, or to hire me:
Follow me on Facebook:
https://www.facebook.com/brianallen.flylanddesigns
On Instagram:
http://instagram.com/flylanddesigns_brian_allen
On YouTube:
https://www.youtube.com/user/flylanddesigns
On Twitter:
https://twitter.com/flylanddesigns
On Behance:
https://www.behance.net/flylanddesigns
This video is about Importing Manga Studio Brushes from Manga Studio 4 into Manga Studio 5.
For a full review on Manga Studio 5, check it out at:
https://www.youtube.com/watch?v=v2YLNa22gEo
Thanks for watching, please post any questions in the comments.
To check out more of my work, or to hire me:
FREQUENTLY ASKED QUESTIONS
–What software do you use?
Manga Studio 5 EX and Adobe Photoshop CC
–What tablet do you use? Wacom Cintiq 24HD, and sometimes a Wacom Companion 1
–What computer do you use?
iMac
–What brushes do you use?
I use variants I created from the stock brushes in Manga Studio 5, as well as brushes I purchased from Ray Frenden.
–How much time does an illustration take?
Projects vary greatly, but I would say a good average would be 8 hours.
–People actually pay you to do this all day?
I know, right?
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Follow me on Facebook:
https://www.facebook.com/brianallen.flylanddesigns
On Instagram:
http://instagram.com/flylanddesigns_brian_allen
On YouTube:
https://www.youtube.com/user/flylanddesigns
On Twitter:
https://twitter.com/flylanddesigns
On Behance:
https://www.behance.net/flylanddesigns
Speed-Inking Tutorial video I created for the process of digitally inking an album cover for the Brazillian band John Wayne in Manga Studio 5 (Clip Studio Paint) with a Wacom Cintiq 24HD.
The album cover I illustrated was for the Brazilian heavy metal band John Wayne (named after John Wayne Gacy – not the other guy). It was a great pleasure working on this with the band, as they gave me a lot of freedom, and I set upon the design without much planning, and tried to let it flow. This album cover is the first in a set of two albums, that when placed together will form one cohesive image. This album represents the dark side, while the following album will have a similar design, but mirrored, and “lighter.”
You can purchase the album here:
https://www.facebook.com/BandaJohnWayne
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To check out more of my work, or to hire me:
Follow me on Facebook:
https://www.facebook.com/brianallen.flylanddesigns
On Instagram:
http://instagram.com/flylanddesigns_brian_allen
On YouTube:
https://www.youtube.com/user/flylanddesigns
On Twitter:
https://twitter.com/flylanddesigns
On Behance:
https://www.behance.net/flylanddesigns
Here’s a inking tutorial for a hot-rod t-shirt for Commando Racing. Check out the shirt at (http://commandoracing.com/t/shirts)
I created this fun t-shirt design for Commando Racing Gear – a hardcore skeleton! We went through a couple different [and equally exciting] designs but eventually settled on this one. I had a lot of fun with this!
Thanks for watching, please post any questions in the comments.
FREQUENTLY ASKED QUESTIONS
–What software do you use?
Manga Studio 5 EX and Adobe Photoshop CC
–What tablet do you use? Wacom Cintiq 24HD, and sometimes a Wacom Companion 1
–What computer do you use?
iMac
–What brushes do you use?
I use variants I created from the stock brushes in Manga Studio 5, as well as brushes I purchased from Ray Frenden.
–How much time does an illustration take?
Projects vary greatly, but I would say a good average would be 8 hours.
–People actually pay you to do this all day?
I know, right?
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Follow me on Facebook:
https://www.facebook.com/brianallen.flylanddesigns
On Instagram:
http://instagram.com/flylanddesigns_brian_allen
On YouTube:
https://www.youtube.com/user/flylanddesigns
On Twitter:
Tweets by flylanddesigns
On Behance:
https://www.behance.net/flylanddesigns
Here’s a video of how to ink for a laser-cut skateboard.
I was recently hired to conceptualize and illustrate a team of Superhero zombies to be laser-engraved into skateboards by Revenga (www.revengaskateboards.com).
While designing, I also had to structure the design so the layout could be changed to fit a T-Shirt as well. I made sure to keep the characters masked on separate layers, that way moving them around at the end was relatively easy.
We also created a silk-screen color version for boards and shirts, using around 6 colors.
Thanks for watching, please post any questions in the comments.
To check out more of my work, or to hire me:
FREQUENTLY ASKED QUESTIONS
–What software do you use?
Manga Studio 5 EX and Adobe Photoshop CC
–What tablet do you use? Wacom Cintiq 24HD, and sometimes a Wacom Companion 1
–What computer do you use?
iMac
–What brushes do you use?
I use variants I created from the stock brushes in Manga Studio 5, as well as brushes I purchased from Ray Frenden.
–How much time does an illustration take?
Projects vary greatly, but I would say a good average would be 8 hours.
–People actually pay you to do this all day?
I know, right?
—————————
Follow me on Facebook:
https://www.facebook.com/brianallen.flylanddesigns
On Instagram:
http://instagram.com/flylanddesigns_brian_allen
On YouTube:
https://www.youtube.com/user/flylanddesigns
On Twitter:
https://twitter.com/flylanddesigns
On Behance:
https://www.behance.net/flylanddesigns
Here is a short video tutorial I created showing how to create custom brushes in Manga Studio 5. One major problem I kept running into was that every time I created a new brush, it would only paint in black. I finally figured out the simple trick on how to make a custom brush in Manga Studio paint in color. Shame on Smith Micro for not making this clearer! But I can’t stay mad you Manga Studio…
I discovered Manga Studio about a year and a half ago, and I believe it’s helped bring my artwork to a new level – and made the act of drawing so much more enjoyable and intuitive.
But there are a couple of things about Manga Studio that aren’t as intuitive as Adobe Photoshop. The brush engine is far more complex (which can be a good thing), which makes for some frustrating hair-pulling at first glance.
Here is a direct link to the video if it’s not loading correctly: http://youtu.be/vZI5Kem8dTQ
And follow me on Youtube for more Manga Studio tutorials (http://www.youtube.com/flylanddesigns)
Product Reviews
Wacom Cintiq Pro 24″ ReviewSeptember 1, 2023 - 12:30 pmProfessional Illustrator Brian Allen reviews the new Wacom Cintiq Pro 24″ (non-touch). I have been using the new Wacom Cintiq Pro 24″ extensively since early April 2018 and I love it! I upgraded from the Wacom Cintiq 24HD, which I used for over 6 years. I had high expectations for this digital drawing tablet and […]