How to Turn Greyscale Art to Black and White Line Art

Hello and welcome to my tutorial on digital graphic symbol painting! Prune Studio Paint is a keen program, and as you'll come across, we only demand a few of its many tools to exercise a expert-looking painting. See fig. 1.

fig 1. The master tools and windows we'll be using in this painting

Before nosotros begin, let me outline what we'll be doing. We'll be painting a character with basically human proportions, in full colour. We are going to exercise information technology in two overall stages. Stage 1 is a grayscale (or black-and-white) painting. We'll bargain with blocking in the graphic symbol and its overall design. Phase 2 is when we'll add in the color and bring the piece to a rendered end, fit for a portfolio or commission!

Phase i: The Grayscale Phase

First, let'southward get-go a new sail. Get to File > New. See fig. two for the settings I used, but feel gratis to use whatever settings yous like. You'll now exist confronted past one of the scariest things in art: a bare white canvas, *gasp!*

fig 2. My settings when creating the new canvass

But never fear! This is precisely why nosotros're using the grayscale-to-color technique: we only accept to worry about values to brainstorm with. Oh, by the mode, 'values' and 'grayscale' refer to the same thing. Meet fig. 3.

fig 3. The grayscale

This makes our decision-making and then much less stressful at the outset. And so, let's impale that white-canvas monster with the 'Fill up' tool. I selected a fairly light greyness to begin with. I chose this value because I tend to desire lots of room to go darker (to add shadows and other dark elements), and but need a little room to go lighter. Run across fig. iv.

fig 4. Filling the canvas with a light greyness

Okay, it's time to beginning drawing. I grabbed the Pencil tool and chose the Rough pencil castor. The brush you select is non to be fixated upon; choose annihilation that you feel comfortable cartoon with. Clip Studio Paint offers and so many peachy choices for this, you nigh can't get wrong! See fig. 5 for my settings.

fig v. My initial pencil settings

I block in a rough construction for my grapheme. It will be a young daughter with her head tilted upwards. She'll be wearing a chapeau and glaze, equally if going for a crisp winter stroll.

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

The planes of the head are not the focus of this tutorial, but are an invaluable thing all artists should learn, every bit the knowledge will enable y'all to draw the head from whatever angle.

If you are following this tutorial and just feel similar painting along with me, feel free to simply copy or trace my drawing! Afterward all, we are focused on painting technique here, non the planes of the head. Come across fig. half dozen.

fig six. Roughing in a sketch

Switching to the Airbrush tool, I now block in very basic value decisions: the graphic symbol will be dark, and the background will remain calorie-free. Run across fig. 7 for my Airbrush settings.

fig 7. Blocking the most basic value groups

I take 2 things to annotation. First, I am notwithstanding working on just ane layer! Also, about my brush choices: I am always changing brush settings.

In fig. vii, you tin come across I take the 'Hardness' set up depression. I will change that equally I piece of work, based on the stroke I desire. For case, if I want to do some finer piece of work, say, on the eye – instead of switching my tool altogether, I'll first simply try calculation more than hardness to the airbrush.

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

I also alter my brush size a lot, based on the stroke I want. Fig. eight shows how multiple castor sizes from the same tool produce strokes that appear to be made past different tools!

fig 8. Using the airbrush to reach multiple looks

However working with the airbrush, I'chiliad building upwardly some diffused lighting on the character's face. I'g imagining the light to be softly coming downward from above. This ways that the planes that face upward will receive slightly lighter values in the grayscale, planes that face to the side will exist a piddling darker, and planes that face down will exist the darkest. See fig. 9.

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

I want the graphic symbol to take a slight tilt to her, as to not be so rigid. I just made a option and used the tool's congenital-in widgets to rotate the head. See fig. 10. I'll then simply fill up in the gaps that are left behind with the brush I already have active.

fig 10. Adding small touches of asymmetry

I flip my sheet often equally I paint. This is a holdover from my oil painting days, where I would have a behemothic mirror behind me, which I could use to see my painting flipped around.

The reason artists do this is that it momentarily "tricks" your brain into thinking it's seeing your prototype for the commencement time. Equally such, it becomes very obvious where the mistakes are. Information technology also brings to light things you simply become used to equally y'all create something, for better or for worse.

Considering 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 do this with a special layer designed for that purpose! Add together a new layer with the push shown in fig.12, outlined in cherry. On the correct 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 mode is specifically for darkening tones. And then, even if you have a lite value selected, it will darken your image.

Cull calorie-free values to darken slightly, and dark values to darken dramatically. Even so using that aforementioned airbrush from before, I apply some general darkening to the planes that face up downward, thereby increasing the contrast and sense of light on the planes that face up upward! Encounter fig. 13.

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

When you're washed with this stride, I recommend committing to information technology with this push (fig. 14). This volition get you back to working with ane layer.

Note: You do not accept to combine layers. Sometimes it is helpful to go along your layers carve up, so you can edit them later. The downside of that, however, is that it can start bogging you lot down with technical decisions that may distract you from the act of cartoon and painting. This is why, generally, I will choose to combine layers and work on the fewest layers possible!

fig xiv. Committing to the layer

Now I want to brand a layer to handle some lightening of values. I'll add together a new layer, merely this time I will set it to Glow Dodge way (run into fig. 15.)

fig 15. New layer ready to Glow contrivance manner

This is like the reverse of Multiply mode: picking a nighttime value volition simply slightly lighten the values, and picking a lite value will dramatically lighten them. Fig. 16 is the result of painting on the layer. I kept the brush soft, equally to imitate very diffused light coming from the environment.

fig xvi. Painting in some light

At present that the character is taking shape, I want to go some kind of background/environment in there. I volition proceed information technology relatively abstract, as to not distract from the character. I created this tutorial during an actual snowfall, so, inspired by real life, permit's advise a winter wonderland! To make snowflakes, I will use 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 go on them looking random, and too strategically placed so they exercise not interfere with our character too much. Equally usual, I will play with the Spray brush's many settings hither, in order to create snowflakes of all sizes. Diverseness is the cardinal to making something announced organic! See fig. 18 for the result of this step.

fig eighteen. Playing effectually with diverse snowflake sizes

Now 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 hirsuite texture for the woolly lid with this tool. Try using strokes that go in multiple, random directions.

fig 19. Using the Blend tool for some texture

And merely like that, nosotros are done with the grayscale/value stage! One thing to keep in listen is that we practise not demand to get to 100% completion at this step. Do non feel the need to slave over this phase until it's perfect; salvage all those little details for the next footstep, 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. Gear up for color!

Stage 2: The Color Stage

Are you ready for some color? This is where this method really pays off, as our lighting, value, class, and design are already taken care of! Nosotros'll start past making a new layer and setting it to Color mode. Come across fig. 21. This will preserve our value decisions, and just glaze the color on peak.

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

The powerof this approach will exist immediately evident. I'll brainstorm by adding some cherry to the cheeks. Come across fig. 22. I am yet using my soft airbrush for this footstep, though, as e'er, yous may utilise whichever brush gives yous the best results or feels right to you!

fig 22. The get-go colour stroke of the piece

You may have the question: which colors are appropriate for flesh tones? Well, that's a complicated subject. The real respond is: skin is not 1 colour, nor even i range of color. In fact, whatsoever color can exist used for skin, depending on your desired palette and lighting. But if yous're simply starting out with peel tones, I recommend staying in fig. 23's range of colors for this stride.

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

At that place will exist a point where our electric current Colour layer runs out of usefulness, and you'll really want your color choices to slightly affect the values underneath. To achieve this, brand a new layer, and set it to Overlay mode. Encounter fig. 24.

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

Overlay volition glaze color simply similar before, but likewise has the power to darken or lighten values. Experiment to get a feel for it! See fig. 25 for my progress.

fig 25. The color yet existence blocked in, however using the Airbrush tool

When yous isolate just the color layers, the painting is laughable! It proves that the existent heavy lifting is beingness washed 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. Meet fig.27. Detect that, while there is color in our painting now, it looks … kind of bland, like a coloring book, rather than a beautiful painting. That's okay! We will now move to the finishing phase.

fig 27. Finishing the color-glazing phase

To finish this painting, we will need to paint opaquely. That is, putting brushwork over meridian of everything. Nosotros will now work with both colour and value together, for the start time in our procedure. Add together a new layer and keep it at its default Normal mode. See fig. 28.

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

Quick note: Call back to proceed flipping the canvas every bit you 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. Meet fig. 29.

fig 29. When you take more than ane layer, use this choice to flip/mirror the canvas

Because I've placed this character in a blueish environment, I want the blueness from it to filter its way into the light and color on the character. To do this, I volition option a fairly desaturated blue (that is, a blueish that'south close to grey), and will press lightly with my tablet to touch on the planes of the character that confront (call back fig. 6!) See fig. 30 for the areas I am choosing to add some dejection to.

Proceed in heed that, by pressing lightly with your tablet, you will be able to mix the color on the sheet itself. Sometimes I will even "overshoot" the blue in my color picker (that is, pick a color that's too bluish), but by pressing lightly, I go far at the desired mixture.

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

At this point, I will commit to my layers. I have combined them downwardly to just one layer. Don't exist agape of doing this! It may feel scary at outset, but over time it is really helpful for building confidence. However, if you lot are shy to commit and lose your layers, I recommend saving the file earlier combining layers, then save a new file where you get alee and combine everything. That way you can always get dorsum.

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

I thought freckles would fit this character. 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 tin can soften the outcome with the layer's opacity slider (run across fig.32.) I can also 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 aid the painting look organic and traditional (which I feel looks more lifelike and interesting.) I'll select the Watercolor tool and use the Watercolor brush. Encounter fig. 33 for my settings. This brush will both apply color, besides every bit rub or smudge colors that are already in that location. Look at the pilus on fig. 33 to see this effect on the painting.

(Note: I am only able to achieve this smudging upshot considering I am working with everything on a single layer. If you were using this tool on a separate layer, it will non smudge the paint on the layers below it.)

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

Aside from creating interesting brushwork, I am really focused on expanding my palette at this phase. Hair, for example, is made of a myriad of colors. My character has scarlet-brown pilus, but observe the subtle hints of blue, and the variety of reds and browns (both saturated and muted) that exist, all weaving together! See fig. 34.

fig 34. The myriad of colors that exist in hair

Moving dorsum to the eyes, I'll use the Blend tool to smudge the paint in the class of eyelashes. See fig. 35.

fig 35. The Blend tool used to pigment eyelashes

I switched to the Pencil tool and chose the Colored pencil brush to create some harder brushstrokes that volition help sharpen the painting. I am using sparse brushstrokes that move in the direction of the course. Encounter fig. 36. This technique is commonly referred to equally "hatching."

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

I want some more furry texture on her jacket and lid, particularly for the white-wool areas. So, I'll add a new layer, and discover an airbrush tool that allows me to spray on some texture. See fig. 37 for my settings and how I've applied the brushstrokes. Similar I did with the freckles, I'll adjust the layer's opacity, as well equally erase areas to become the texture to "sit in" the way I like it.

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

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

fig 38. Our progress

I'k always evaluating the rendering of the forms. I felt that her cheekbones could be a little more than pronounced. I switched to a soft airbrush with a big brush size. I chose a deep, ruby colour, and softly brush in some concealment under the cheekbone, to help the airplane alter experience more pronounced. See fig. 39.

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

As I moved toward the finishing strokes in the painting, I plant myself using the Round watercolor brush quite often. See fig. forty for my settings.

fig 40. Some other brush setting I use often

As I worked on this colour phase, the snowflakes slowly got painted abroad. I at present want to add those back in! I'll use exactly the aforementioned Spray brush settings equally I did in the grayscale phase, only this time I will include color in my decisions. I want the snowflakes to exist warmer than the blue background. Some of the snowflakes will exist a very desaturated cyan-ish blue (which is all the same warmer than the saturated blue background!) while other snowflakes will have a yellow tint to them. I found information technology very helpful to include some very, very, large particles with the Spray brush, which helped simulate a depth-of-field result! See fig. 41.

fig 41. Painting dorsum in the snowflakes, using 2 separate layers

I'll finally zoom in on the hair and pigment in some private strands. I'one thousand using the Circular watercolor brush (fig. twoscore) for this, with a very small brush size.

fig 42. Finally painting in some private strands of hair

Fig. 43 shows the level of rendering I consider "finished" for this slice. Think that you are your own artist, and will accept your ain opinions on how rendered yous'd like things to exist in the final. Your painting can be looser than this or tighter than this; the aesthetic of your work is entirely up to you, and your aesthetic taste is just as valid equally mine!

fig 43. A close up of the finished centre

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

fig 44. The finished painting

This is a very versatile approach to digital painting. Y'all can use it to paint all kinds of characters, in all kinds of lighting, with all kinds of palettes – all with just a few simple (still powerful) tools in Prune Studio Paint. I promise you enjoyed following forth with me, and I wish you lot 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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