How To Draw Digitally In High Res Anime

The outline is a fundamental part of the analogy and sometimes it can go frustrating, especially when yous see that your sketch looks improve than the last version. But your lines can have equally much personality as your characters, so it is very useful to emphasize or highlight parts of the illustration, direct the viewer's gaze and create motion. Here are some tips to give more grapheme to those lines. Let's start!

What brush should I use?

Evidently, in that location are millions of digital brushes, and each 1 has a unlike function, so there is no correct reply to this question. I could say "It depends on what y'all want to do" but that's not skillful enough, right? The good thing is that they all share more or less the aforementioned configuration console. Permit's accept a wait at a couple of bones Clip Studio Paint brushes: the Darker Pencil and the Chiliad-Pen.

* Castor Size: The thickness of the line varies depending on the size of the brush and the pressure we exert on the pen of our graphics tablet. (A) Maximum size, (B) thickness with the minimum pressure.

* Hardness / Anti-aliasing: This softens the edges. You can run across how it affects the strokes in both cases. (A) Hardness / (B) Anti-aliasing.

* Density / Opacity: With less density or opacity the lines become more transparent. Hither I increased the density progressively until we get to 100%.

* Stabilization: This bar is a life-saver! It makes small adjustments in the line to avoid shakiness, so it is great for when you want to make long and uninterrupted lines – you just have to increase or decrease the value every bit much as you need. (A) 0 stability, (B) 10 stability.

What idea or feeling do I want to create?

Perhaps I want my drawing to look ambitious, to show speed, ability and strength …

Perhaps calmer, more fragile, clean and fluid …

Or even a little undefined, confused, or dirty with a chip of texture!

Lines are capable of representing any type or volume of materials, so you but take to vary their thickness, management and attitude. For example, if you want this circumvolve to expect similar a soap bubble, then sparse and imperfect lines (which have the attitude of a bubble) are what y'all are looking for. You lot know that it is a fragile, trembling, transparent figure and that at whatever moment it could … Poof! Burst!

And if you exercise the reverse, it may look like a bowling ball. Observe how the thickness of the line at the bottom is accentuated to simulate some shade, and give it some more weight.

Lines can requite a worn look (A) or a new look (B) so it is important to proceed in mind what you want to correspond and brand them deed in such a way.

The petals are delicate and calorie-free (A), the rocks are rough and heavy (B). There are countless other objects yous can do this with…

Represent light or shadow:

Stiff strokes in certain areas of your figure will create the feeling that light does not reach this betoken (A).

As well by varying the thickness of the lines on one side of the effigy, you might suggest shading (B).

For calorie-free, we utilise fine lines or open spaces. Go along in heed, the thinner the line, the more intense the lite feels (C).

Perspective and emphasis:

We can utilise the composition to help highlight an object. If the lines are slightly more divers or thicker, you can guide the eye straight where nosotros want it to go (A); or if you want to create perspective, similarly, a heavier and more divers profile will give a sense of closeness (B).

Conversely, diffused and thin lines for the objects that accompany the composition indicate to the viewer that they are non your protagonists (A); or correspond things far away (B).

Permit'south put information technology into practise!

I will become step by step explaining the process of this cartoon and the CSP tools that I used to solve certain issues.

In my mind, this cartoon is full of energy, and maybe a little rebellious, because she looks like a fleck of a bad daughter, right? So let's give the lines the same attitude.

I starting time off by lowering the opacity of the sketch and create a new layer. I unremarkably first with the features of the confront, but this sketch isn't very clear so I have to find a line that works. If I find it hard to start with the jawline, and so I start with the nose. Normally when I effigy out how to draw ane thing, information technology is easier to describe the next i – there's no strict order when you draw!

I accentuated the outline of the nose to give it some relief and shade, so moved onto the jaw.

Eyes

I want her to accept a gaze with some weight to it. To give her a strong look and highlight the eyes, nosotros should make the eyelashes nice and thick. It probably won't await great if you endeavor to draw the whole of the lashes with unmarried strokes, so to help yourself out: depict the outline of the lashes and fill them in with the Fill tool (the i that looks similar a pigment bucket).

Sometimes this tool leaves bare pixels on the edges, which don't expect great. To fix this problem, you tin modify the levels in "Area scaling" a few points above 0 and this make sure the fill tool volition cover part of the outline and reduce the number of blank pixels when filling.

I've simply realized that one centre is bigger than the other. The stroke on the outline is decent, though, so instead of erasing and redrawing it, let's relieve a bit of time!

* Transformation tool: I used the Lasso selection and selected the center I want to modify.  Then, pressing Ctrl + T and holding the Ctrl key, I motility the corners of the box to become it to the shape I desire. Finally, I confirm the changes by clicking OK.

Information technology is skillful common practice to wait at your work from another point of view to detect these kinds of errors as soon every bit possible. Flipping the canvass horizontally every bit you work is actually helpful:

* The iris: The bend of the iris is actually difficult to describe – I've never gotten it right the first time. To aid things a bit I adapt the line stability level, which I mentioned earlier, until I get the perfect curve. Don't suffer without line stabilization!

Hither I've gone ahead and finished the eyebrows, mouth and pupils, so now I can get and add small details to flesh it out …

Hair

In a new layer, I define the outline of the whole head of hair, starting from the forehead. From the root to the tips, from top to bottom, from i point to some other – practise it notwithstanding you like! The of import thing is that your line flows with how the hair moves.

I use the same fob with the pigment saucepan as earlier. Remember though, you're working on a different layer – if you hide the face layer you lot'll see that the lines of the hair are not closed, so the fill tool volition spill over and fill up the unabridged canvas. To avert this, click on "Refer other layers" and the program will take into business relationship the other visible layers.

In one case you're done with this, cover any blank pixels with the brush or erase any imperfections that may have been left over.

* Details: This is my favorite part! I add small strands to give it a more natural, relaxed look!

You can run across how it comes to life, right? Only there's yet something missing – the lite. For that, I accept some other trick that I like to use. Almost all the tools in CSP tin can act equally a "draft".

This box (A) will make our brush "transparent". The calorie-free volition highlight particular tufts of hair and will give the prototype depth. In the same mode, keeping in mind the curved shape of the head, the direction and move of the hair is key to forbid the figure from looking flat.

(B) Here are the kinds of strokes I tend to employ for pilus highlights

Clothes

In general, drawing long lines in 1 continuous stroke is a detriment to the line, because your manus has a limited range with which it can make a fluid line, which shows more when you work with digital media.

* The navigator console: When I draw, I observe myself drawing the aforementioned line endless times, zooming in and rotating the canvass to describe more than comfortably. For lines that cover a lot of space, I zoom out and for brusk lines or lines that crave more detail and precision, I zoom as much as I can. Of course, I make certain to rotate the sheet to help gratuitous upwardly my range of move of my wrist, and produce the most natural lines I can.

There are ever remainder points when drawing. These happen naturally when i line finishes and another begins. (A) Hither is one continuous line. (B) And here is another where I have stopped one line and started another at the natural rest points. The difference is slight simply information technology clearly looks better.

If you have to stop in the middle of a long line, having a thin tip at the finish helps blend it together, and then you can continue the line smoothly.

* Folds: These all go in different directions and some are more pronounced or distressed than others. A lot of it depends on the fabric. In this case I want to prove that the fabric is thicker, and then I make sure to bear witness that by drawing more pronounced wrinkles. If you lot practise not know how to stand for a detail material, you tin can e'er utilize reference photos on the internet. Don't draw blindly – it's a good habit to make apply of references!

Hands

And so far the sketch has been a good reference to work from, but it doesn't piece of work in some parts of the cartoon. For case, I'yard not convinced by this hand – I tried to draw something decent but … no, it really was not proficient.

So I drew a new sketch of it and took the opportunity to arrange its position and size. I like the shape more now, and I too liked the idea of painting her nails black.

But at present I have this problem:

* Layer Mask: with this it's like shooting fish in a barrel to hide the area of the hair that interferes with the hand, without needing to erase it:
(one) Click on the auto pick tool > (2) Click within the mitt – a dotted outline will appear for the area option > (three) invert selected area > (4) select the hair layer and create layer mask .

To highlight the hand, I left a small white outline.

I finish delineating the remaining areas, add some details to the blouse, and depict the other arm and hand (which I re-sketched and inverse the pose for).

All washed!

For my last touches, I added a little lift to the scarf to make the limerick more dynamic and fun, a nice star to accompany her gesture and some grey tones.

I hope it is not too much data to digest, but y'all can always jump to whatsoever department that interests you.

CSP has incredibly flexible tools, please do non hesitate to explore them in-depth.

And finally, practice a lot!

If you lot like, you can bank check out my social media and portfolio to come across some more of my work.

https://www.instagram.com/eri_duh/
https://twitter.com/eri_duh
https://www.artstation.com/eridey

Thank you for reading!

– Eridey

Source: https://www.clipstudio.net/how-to-draw/archives/165695

Posted by: williamsforem1954.blogspot.com

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